Leopold String Trio - Bach: Goldberg Variations (2011)
Leopold String Trio - Bach: Goldberg Variations (2011)
EAC Rip | Flac (Tracks + cue + log) | 1 CD | Full Scans | 306 MB
Genre: Classsical | Label: Hyperion | Catalog Number: 67826
EAC Rip | Flac (Tracks + cue + log) | 1 CD | Full Scans | 306 MB
Genre: Classsical | Label: Hyperion | Catalog Number: 67826
The Goldberg Variations stands as one of the greatest keyboard works ever written. Composed for a two-manual harpsichord, its universal musical language and distinct voicing has made it a popular subject for arrangement, including those for two pianos by Joseph Rheinberger, for woodwind quartet by Andrei Eshpai, for organ by Jean Guillou, and for solo guitar by József Eötvös, as well as the brilliantly re-imagined Gilded Goldbergs by Robin Holloway. Dmitry Sitkovetsky’s arrangement was made in 1985 to celebrate the 300th anniversary of Bach’s birth, and it is dedicated to the memory of Glenn Gould, whose celebrated 1955 Columbia recording of the Goldberg Variations became an instant best-seller and introduced a whole generation to this extraordinary music. Sitkovetsky’s arrangement produces fascinating and delightful results, especially in this vigorous and sensitive performance from the Leopold String Trio.
Composer: Johann Sebastian Bach
Orchestra/Ensemble: Leopold String Trio
Reviews: Johann Sebastian Bach originally wrote the Goldberg Variations for two-manual harpsichord, and it was one of very few works by Bach that were published during the composer’s lifetime, by the firm of Balthasar Schmid at Nuremberg in about 1741. The original title page describes the work as ‘Clavier-Übung [Keyboard Practice], consisting of an Aria, with diverse variations for harpsichord with two manuals, prepared to delight the souls of music-lovers by Johann Sebastian Bach’. There was no irony in the notion—expressed on this title page—of a work that aspired to speak to the soul of those playing and hearing the work: Bach, as a devout Lutheran, was deeply conscious of the spiritual dimension of music, and the wish of composers to enrich the soul as well as to divert and entertain. But the work was also an extraordinary feat of large-scale composition: if the Preludes and Fugues of the Well-Tempered Clavier are counted as self-contained pairs of works, then the Goldberg Variations constitute the most extended single piece of keyboard music published in the eighteenth century, and attracted some international attention early on. Bach is often thought of as a composer whose music was rediscovered only in the nineteenth century (thanks in large part to Mendelssohn and Schumann), but his keyboard music was something of an exception to this, even outside Germany, and the Goldberg Variations were particularly valued, though seldom played at the time. In his pioneering General History of the Science and Practice of Music, published in 1776, Sir John Hawkins devotes several pages to Bach, thanking Johann Christian Bach (who had settled in London in the 1760s) for supplying some of the information in Hawkins’s account of Bach’s life. Hawkins concludes his discussion of Bach with three full pages of music examples, comprising the Aria, Variation 9 and Variation 10 from the Goldberg Variations, making this one of the first pieces of Bach to appear in print outside Germany. It is relatively unusual to find Bach being so precise in one of his keyboard works about the instrumentation: a two-manual harpsichord is specified for the Goldberg Variations, while most of his keyboard music is composed for an unspecified ‘clavier’ (keyboard). But there is a clear element of virtuoso display in Bach’s writing here, providing ample opportunity not only for the player to demonstrate agility as well as expressive range, but also for the instrument itself to shine.
But who was Goldberg, and how does he fit into the story of these famous variations? For the most detailed evidence, we need to turn to Bach’s early biographer Johann Nikolaus Forkel (1749–1818), whose Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke was first published in Leipzig by Hoffmeister and Kühnel in 1802. The accuracy of Forkel’s account has been much debated by scholars ever since. In 1741, either in Dresden (according to most recent sources) or in Leipzig (according to Forkel), Bach met Count Hermann Carl Keyserlingk—Russian Ambassador to the Court of Saxony—who employed a young musician called Johann Gottlieb Goldberg. In his biography Forkel relates the story as follows:
[The Count] often stopped in Leipzig and brought there with him … Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. On these occasions, Goldberg had to spend the night in an adjoining room so that he could play something to him during this sleeplessness. The Count remarked to Bach that he would like to have a few pieces for his musician Goldberg, pieces so gentle and somewhat merry in character that the Count could be cheered up by them during his sleepless nights. Bach thought he could best fulfil this wish with some variations … The Count henceforth referred to them only as his variations. He could not get enough of them, and for a long time, whenever sleepless nights came, he would say, Dear Goldberg, do play me one of my variations. Bach was perhaps never rewarded so well for one of his compositions. The Count bestowed on him a gold beaker filled with one hundred Louis d’or.
It’s a fine tale—and the source for the famous legend of these variations as a cure for insomnia—but it seems that like most good stories it is also the result of some embellishment. Goldberg was born in Danzig in 1727, and was thus only in his early teens at the time of Bach’s visit to Keyserlingk, so it’s wildly improbable that Bach wrote the variations for him to play. Moreover, they had almost certainly been published just before Bach’s meeting with Keyserlingk, so the chances are that he presented the Count with a copy having been asked about the possibility of composing some suitable music. This also helps to explain the absence of either the Count’s name or Goldberg’s on the title page of the first edition. Moreover, the Aria that is the basis for these variations is found in Anna Magdalena’s Notebook, most of which was compiled years earlier (although Christoph Wolff has suggested that the Aria was added by Anna Magdalena on blank pages in about 1740). Peter Williams has speculated that the player Bach most probably had in mind for the variations was his son Wilhelm Friedemann, a brilliant performer who had worked as organist of the Sophienkirche in Dresden since 1733. Still, Goldberg is reputed to have been a brilliantly talented young musician, and a pupil of both Johann Sebastian and Wilhelm Friedemann Bach. His compositions include a number of cantatas as well as keyboard works (though Forkel notes that while his playing was brilliant, Goldberg’s own music was less distinguished) and it is possible that Bach could have given the young Goldberg the theme to play. (This is one of the more plausible suggestions in the charming but largely fictitious Little Chronicle of Anna Magdalena Bach by Esther Meynell, first published in 1925.) Sadly, Goldberg’s career was cut short by tuberculosis, and he died in 1756 a few weeks after his twenty-ninth birthday.
The variations constitute a virtual encyclopaedia of what was possible in terms of imaginative harpsichord writing, and the piece is even more remarkable for Bach’s brilliant manipulation of the theme—the theme and every variation are in two halves of sixteen bars each, usually divided into two-bar phrases, yet Bach avoids any sense of fearful symmetry, let alone monotony. As a master of transcribing his own music for different instrumental combinations, the arrangement of the Goldberg Variations by Dmitry Sitkovetsky for string trio is an idea that would surely have appealed to the composer. Just as Mozart arranged some of the keyboard fugues from the ‘48’ for string quartet, and others have arranged The Art of Fugue for the same forces, so Sitkovetsky has taken up the challenge of re-thinking Bach’s music for entirely different instruments—as Bach himself had done not only with his own music but also with other composers such as Vivaldi, Telemann, Marcello and Torelli.
Sitkovetsky’s arrangement was made in 1985 to celebrate the 300th anniversary of Bach’s birth, and it is dedicated to the memory of Glenn Gould, whose celebrated 1955 Columbia recording of the Goldberg Variations became an instant best-seller and introduced a whole generation to this extraordinary music—a success that was virtually repeated in 1981 when Gould made a new recording that takes a less ebullient, more considered view of the work. Donald Tovey wrote that: ‘Until Beethoven wrote the Waldstein Sonata, the Goldberg Variations were the most brilliant piece of sheer instrumental display extant. No other work by Bach himself, or by Domenico Scarlatti, not even any earlier work of Beethoven could compare with it for instrumental brilliance.’ Given that part of that brilliance noted by Tovey comes from Bach’s writing for the harpsichord, it is curious that these variations first achieved worldwide fame in Gould’s version played on the piano, rather than the instrument specified by Bach. There are numerous arrangements of the Goldberg Variations for different instrumental combinations including those for two pianos by Joseph Rheinberger (revised by Max Reger), for woodwind quartet by Andrei Eshpai, for organ by Jean Guillou, and for solo guitar by József Eötvös, as well as the more drastically altered arrangement by Ferruccio Busoni (cutting out ten of the variations and adding a coda of Busoni’s own), a version for jazz trio by Jacques Loussier and the brilliantly re-imagined Gilded Goldbergs by Robin Holloway (recorded by The Micallef-Inanga Piano Duo on Hyperion CDA67360).
Sitkovetsky’s choice of string trio produces some fascinating results. With three instruments of broadly similar timbre, the contrapuntal and imitative lines come across with great transparency, especially in the canonic variations Nos 6, 9, 12, 15, 18, 21, 24 and 27, or in the fughetta (variation 10) and the closely argued counterpoint of variation 22, or, finally, in the triumphant imitation (based on folk tunes) of the Quodlibet that forms variation 30. Some ingenious reworking aims to produce an equivalent of the virtuosity required on the harpsichord: the playful energy of variation 3 puts continuous motion in semiquavers on the viola that are topped and tailed by violin and cello. In variation 5, Sitkovetsky resists the temptation to write a third part, while the two-part texture of variation 6 is cleverly redistributed between the three instruments—leaving it as a two-voice jig—as it is in variation 11. The elaborate hand-crossing and figuration of variation 14 are imaginatively re-conceived as a dialogue between the three string players. The almost orchestral variation 16, a kind of miniature French Overture, is particularly well suited to the rich sonorority of Sitkovetsky’s instrumentation. The use of pizzicato for the running semiquavers in variation 19 may cause some surprise, but it provides an attractive change of texture. The highly chromatic writing of variation 25 works well on string instruments, with the greater sustaining power of strings allowing dissonances to be relished to the full. The frenetic momentum of variation 26 is, again, cleverly redistributed among the trio, while in variation 28 there is more effective use of pizzicato, perhaps to mirror the sound of the harpsichord as well as to lighten the texture. The grand chords of variation 29 are also persuasively transcribed. Overall, the character of the music is altered in quite a subtle way from Bach’s original: one obvious difference is that the musical dialogue now emerges as real chamber music, and while this wasn’t what Bach had in mind when he wrote the Goldberg Variations, it certainly produces an exciting way of hearing the work anew.
Tracklisting:
1. Aria
2. Variation 1
3. Variation 2
4. Variation 3
5. Variation 4
6. Variation 5
7. Variation 6
8. Variation 7
9. Variation 8
10. Variation 9
11. Variation 10
12. Variation 11
13. Variation 12
14. Variation 13
15. Variation 14
16. Variation 15
17. Variation 16
18. Variation 17
19. Variation 18
20. Variation 19
21. Variation 20
22. Variation 21
23. Variation 22
24. Variation 23
25. Variation 24
26. Variation 25
27. Variation 26
28. Variation 27
29. Variation 28
30. Variation 29
31. Quodlibet
32. Aria da capo
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 23. February 2012, 17:03
Leopold String Trio / Goldberg Variations, BWV 988
Used drive : ATAPI iHAS324 B Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
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 : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\FLAC\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
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1 | 0:00.00 | 4:15.50 | 0 | 19174
2 | 4:15.50 | 1:46.34 | 19175 | 27158
3 | 6:02.09 | 1:23.09 | 27159 | 33392
4 | 7:25.18 | 2:01.20 | 33393 | 42487
5 | 9:26.38 | 1:03.35 | 42488 | 47247
6 | 10:29.73 | 1:23.43 | 47248 | 53515
7 | 11:53.41 | 1:15.25 | 53516 | 59165
8 | 13:08.66 | 2:10.01 | 59166 | 68916
9 | 15:18.67 | 1:55.17 | 68917 | 77558
10 | 17:14.09 | 1:35.62 | 77559 | 84745
11 | 18:49.71 | 1:30.34 | 84746 | 91529
12 | 20:20.30 | 1:54.47 | 91530 | 100126
13 | 22:15.02 | 1:58.15 | 100127 | 108991
14 | 24:13.17 | 4:39.27 | 108992 | 129943
15 | 28:52.44 | 2:04.30 | 129944 | 139273
16 | 30:56.74 | 3:49.61 | 139274 | 156509
17 | 34:46.60 | 2:38.66 | 156510 | 168425
18 | 37:25.51 | 1:59.22 | 168426 | 177372
19 | 39:24.73 | 1:30.43 | 177373 | 184165
20 | 40:55.41 | 1:47.58 | 184166 | 192248
21 | 42:43.24 | 1:57.53 | 192249 | 201076
22 | 44:41.02 | 1:57.23 | 201077 | 209874
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24 | 47:49.61 | 1:55.39 | 215236 | 223899
25 | 49:45.25 | 2:34.57 | 223900 | 235506
26 | 52:20.07 | 7:11.73 | 235507 | 267904
27 | 59:32.05 | 1:59.51 | 267905 | 276880
28 | 61:31.56 | 1:57.48 | 276881 | 285703
29 | 63:29.29 | 2:34.69 | 285704 | 297322
30 | 66:04.23 | 2:22.72 | 297323 | 308044
31 | 68:27.20 | 1:57.26 | 308045 | 316845
32 | 70:24.46 | 4:18.55 | 316846 | 336250
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Track 31
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Track 32
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[CTDB TOCID: bJ.Gb_wvX7fqeXfljkuWMYm6skg-] disk not present in database, Submit result: bJ.Gb_wvX7fqeXfljkuWMYm6skg- has been uploaded
==== Log checksum 693D6EBC6A25032C74AFAF8EE3BEA9A93A007BFEFF95CC718229F3DD206CFEDA ====
EAC extraction logfile from 23. February 2012, 17:03
Leopold String Trio / Goldberg Variations, BWV 988
Used drive : ATAPI iHAS324 B Adapter: 1 ID: 0
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 6
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 : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\FLAC\flac.exe
Additional command line options : -8 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "PERFORMER=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%–tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "ALBUMARTIST=%albumartist%" -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" -T "COMMENT=%comment%" %source% -o %dest%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:15.50 | 0 | 19174
2 | 4:15.50 | 1:46.34 | 19175 | 27158
3 | 6:02.09 | 1:23.09 | 27159 | 33392
4 | 7:25.18 | 2:01.20 | 33393 | 42487
5 | 9:26.38 | 1:03.35 | 42488 | 47247
6 | 10:29.73 | 1:23.43 | 47248 | 53515
7 | 11:53.41 | 1:15.25 | 53516 | 59165
8 | 13:08.66 | 2:10.01 | 59166 | 68916
9 | 15:18.67 | 1:55.17 | 68917 | 77558
10 | 17:14.09 | 1:35.62 | 77559 | 84745
11 | 18:49.71 | 1:30.34 | 84746 | 91529
12 | 20:20.30 | 1:54.47 | 91530 | 100126
13 | 22:15.02 | 1:58.15 | 100127 | 108991
14 | 24:13.17 | 4:39.27 | 108992 | 129943
15 | 28:52.44 | 2:04.30 | 129944 | 139273
16 | 30:56.74 | 3:49.61 | 139274 | 156509
17 | 34:46.60 | 2:38.66 | 156510 | 168425
18 | 37:25.51 | 1:59.22 | 168426 | 177372
19 | 39:24.73 | 1:30.43 | 177373 | 184165
20 | 40:55.41 | 1:47.58 | 184166 | 192248
21 | 42:43.24 | 1:57.53 | 192249 | 201076
22 | 44:41.02 | 1:57.23 | 201077 | 209874
23 | 46:38.25 | 1:11.36 | 209875 | 215235
24 | 47:49.61 | 1:55.39 | 215236 | 223899
25 | 49:45.25 | 2:34.57 | 223900 | 235506
26 | 52:20.07 | 7:11.73 | 235507 | 267904
27 | 59:32.05 | 1:59.51 | 267905 | 276880
28 | 61:31.56 | 1:57.48 | 276881 | 285703
29 | 63:29.29 | 2:34.69 | 285704 | 297322
30 | 66:04.23 | 2:22.72 | 297323 | 308044
31 | 68:27.20 | 1:57.26 | 308045 | 316845
32 | 70:24.46 | 4:18.55 | 316846 | 336250
Track 1
Filename C:\01 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 01. Aria.wav
Pre-gap length 0:00:02.00
Peak level 27.4 %
Extraction speed 3.6 X
Track quality 100.0 %
Test CRC 2CF5B0CF
Copy CRC 2CF5B0CF
Accurately ripped (confidence 1) [37CA0B5D] (AR v2)
Copy OK
Track 2
Filename C:\02 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 02. Var. 1.wav
Peak level 44.0 %
Extraction speed 3.4 X
Track quality 100.0 %
Test CRC 881D11D0
Copy CRC 881D11D0
Accurately ripped (confidence 1) [C476DB92] (AR v2)
Copy OK
Track 3
Filename C:\03 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 03. Var. 2.wav
Peak level 25.4 %
Extraction speed 3.2 X
Track quality 100.0 %
Test CRC BC866F62
Copy CRC BC866F62
Accurately ripped (confidence 1) [3B5517D1] (AR v2)
Copy OK
Track 4
Filename C:\04 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 04. Var. 3.wav
Peak level 27.0 %
Extraction speed 3.7 X
Track quality 100.0 %
Test CRC 9377A0A4
Copy CRC 9377A0A4
Accurately ripped (confidence 1) [C8A6C0FE] (AR v2)
Copy OK
Track 5
Filename C:\05 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 05. Var. 4.wav
Peak level 42.7 %
Extraction speed 3.1 X
Track quality 100.0 %
Test CRC 0F90E881
Copy CRC 0F90E881
Accurately ripped (confidence 1) [2CBD8738] (AR v2)
Copy OK
Track 6
Filename C:\06 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 06. Var. 5.wav
Peak level 34.5 %
Extraction speed 3.5 X
Track quality 100.0 %
Test CRC 827A5A4D
Copy CRC 827A5A4D
Accurately ripped (confidence 1) [74989B77] (AR v2)
Copy OK
Track 7
Filename C:\07 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 07. Var. 6.wav
Peak level 19.0 %
Extraction speed 2.1 X
Track quality 99.8 %
Test CRC AE3A0BE4
Copy CRC AE3A0BE4
Accurately ripped (confidence 1) [12B03AFB] (AR v2)
Copy OK
Track 8
Filename C:\08 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 08. Var. 7.wav
Peak level 28.2 %
Extraction speed 4.1 X
Track quality 100.0 %
Test CRC 1451930D
Copy CRC 1451930D
Accurately ripped (confidence 1) [87158A17] (AR v2)
Copy OK
Track 9
Filename C:\09 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 09. Var. 8.wav
Peak level 39.0 %
Extraction speed 4.0 X
Track quality 100.0 %
Test CRC 3088D254
Copy CRC 3088D254
Accurately ripped (confidence 1) [5454FF62] (AR v2)
Copy OK
Track 10
Filename C:\10 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 10. Var. 9.wav
Peak level 46.3 %
Extraction speed 3.9 X
Track quality 100.0 %
Test CRC DA10B98C
Copy CRC DA10B98C
Accurately ripped (confidence 1) [A4A7F03F] (AR v2)
Copy OK
Track 11
Filename C:\11 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 11. Var. 10.wav
Peak level 42.4 %
Extraction speed 4.1 X
Track quality 100.0 %
Test CRC 048A6D15
Copy CRC 048A6D15
Accurately ripped (confidence 1) [DAD18081] (AR v2)
Copy OK
Track 12
Filename C:\12 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 12. Var. 11.wav
Peak level 39.2 %
Extraction speed 4.4 X
Track quality 100.0 %
Test CRC B7B6C096
Copy CRC B7B6C096
Accurately ripped (confidence 1) [5E4B3BB5] (AR v2)
Copy OK
Track 13
Filename C:\13 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 13. Var. 12.wav
Peak level 37.7 %
Extraction speed 3.1 X
Track quality 99.9 %
Test CRC D74F8393
Copy CRC D74F8393
Accurately ripped (confidence 1) [5076ED2F] (AR v2)
Copy OK
Track 14
Filename C:\14 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 14. Var. 13.wav
Peak level 16.6 %
Extraction speed 5.5 X
Track quality 100.0 %
Test CRC 55F24EF7
Copy CRC 55F24EF7
Accurately ripped (confidence 1) [FC3265CD] (AR v2)
Copy OK
Track 15
Filename C:\15 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 15. Var. 14.wav
Peak level 40.1 %
Extraction speed 5.0 X
Track quality 100.0 %
Test CRC 002405DC
Copy CRC 002405DC
Accurately ripped (confidence 1) [01E2BDF7] (AR v2)
Copy OK
Track 16
Filename C:\16 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 16. Var. 15.wav
Peak level 31.1 %
Extraction speed 5.7 X
Track quality 100.0 %
Test CRC 5BE4BBC0
Copy CRC 5BE4BBC0
Accurately ripped (confidence 1) [FE738C9D] (AR v2)
Copy OK
Track 17
Filename C:\17 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 17. Var. 16.wav
Peak level 33.6 %
Extraction speed 5.6 X
Track quality 100.0 %
Test CRC B9463BE8
Copy CRC B9463BE8
Accurately ripped (confidence 1) [962707CB] (AR v2)
Copy OK
Track 18
Filename C:\18 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 18. Var. 17.wav
Peak level 27.8 %
Extraction speed 5.3 X
Track quality 100.0 %
Test CRC 53B9F887
Copy CRC 53B9F887
Accurately ripped (confidence 1) [9F3C8061] (AR v2)
Copy OK
Track 19
Filename C:\19 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 19. Var. 18.wav
Peak level 13.0 %
Extraction speed 5.1 X
Track quality 100.0 %
Test CRC D9EAD02B
Copy CRC D9EAD02B
Accurately ripped (confidence 1) [E2F6EBC1] (AR v2)
Copy OK
Track 20
Filename C:\20 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 20. Var. 19.wav
Peak level 13.7 %
Extraction speed 5.3 X
Track quality 100.0 %
Test CRC DEF3BFD0
Copy CRC DEF3BFD0
Accurately ripped (confidence 1) [91C0615A] (AR v2)
Copy OK
Track 21
Filename C:\21 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 21. Var. 20.wav
Peak level 36.4 %
Extraction speed 5.5 X
Track quality 100.0 %
Test CRC DBC4022F
Copy CRC DBC4022F
Accurately ripped (confidence 1) [84509BF7] (AR v2)
Copy OK
Track 22
Filename C:\22 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 22. Var. 21.wav
Peak level 32.8 %
Extraction speed 5.6 X
Track quality 100.0 %
Test CRC 2C03A23E
Copy CRC 2C03A23E
Accurately ripped (confidence 1) [3D4ACD4A] (AR v2)
Copy OK
Track 23
Filename C:\23 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 23. Var. 22.wav
Peak level 41.4 %
Extraction speed 4.8 X
Track quality 100.0 %
Test CRC FCE6D9C7
Copy CRC FCE6D9C7
Accurately ripped (confidence 1) [F9113A2D] (AR v2)
Copy OK
Track 24
Filename C:\24 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 24. Var. 23.wav
Peak level 40.1 %
Extraction speed 3.9 X
Track quality 99.9 %
Test CRC A4694F57
Copy CRC A4694F57
Accurately ripped (confidence 1) [54195BD6] (AR v2)
Copy OK
Track 25
Filename C:\25 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 25. Var. 24.wav
Peak level 31.8 %
Extraction speed 6.1 X
Track quality 100.0 %
Test CRC 2288534A
Copy CRC 2288534A
Accurately ripped (confidence 1) [76F2BE55] (AR v2)
Copy OK
Track 26
Filename C:\26 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 26. Var. 25.wav
Peak level 29.5 %
Extraction speed 7.3 X
Track quality 100.0 %
Test CRC CE31BCD3
Copy CRC CE31BCD3
Accurately ripped (confidence 1) [055EE78C] (AR v2)
Copy OK
Track 27
Filename C:\27 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 27. Var. 26.wav
Peak level 36.3 %
Extraction speed 6.2 X
Track quality 100.0 %
Test CRC DAE16103
Copy CRC DAE16103
Accurately ripped (confidence 1) [063D0CC8] (AR v2)
Copy OK
Track 28
Filename C:\28 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 28. Var. 27.wav
Peak level 35.3 %
Extraction speed 6.2 X
Track quality 100.0 %
Test CRC 3B168070
Copy CRC 3B168070
Accurately ripped (confidence 1) [B31F072B] (AR v2)
Copy OK
Track 29
Filename C:\29 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 29. Var. 28.wav
Peak level 19.8 %
Extraction speed 6.7 X
Track quality 100.0 %
Test CRC 01AA8565
Copy CRC 01AA8565
Accurately ripped (confidence 1) [CDAF08C9] (AR v2)
Copy OK
Track 30
Filename C:\30 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 30. Var. 29.wav
Peak level 62.8 %
Extraction speed 6.6 X
Track quality 100.0 %
Test CRC 59A85BB8
Copy CRC 59A85BB8
Accurately ripped (confidence 1) [69BDC7AB] (AR v2)
Copy OK
Track 31
Filename C:\31 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 31. Var. 30- Quodlibet.wav
Peak level 48.5 %
Extraction speed 6.4 X
Track quality 100.0 %
Test CRC 045540AC
Copy CRC 045540AC
Accurately ripped (confidence 1) [EF9D53C2] (AR v2)
Copy OK
Track 32
Filename C:\32 - BWV 988, ''Aria Mit Verschiedenen Veranderungen'' - 32. Aria Da Capo.wav
Peak level 28.3 %
Extraction speed 7.7 X
Track quality 100.0 %
Test CRC 49E783FA
Copy CRC 49E783FA
Accurately ripped (confidence 1) [EA8DCAC3] (AR v2)
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
–– CUETools DB Plugin V2.1.3
[CTDB TOCID: bJ.Gb_wvX7fqeXfljkuWMYm6skg-] disk not present in database, Submit result: bJ.Gb_wvX7fqeXfljkuWMYm6skg- has been uploaded
==== Log checksum 693D6EBC6A25032C74AFAF8EE3BEA9A93A007BFEFF95CC718229F3DD206CFEDA ====
Thanks to the original releaser