Johann Sebastian Bach - Gustav Leonhardt - Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11 (1994)
Johann Sebastian Bach - Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11
Monika Frimmer, Ralf Popken, Christoph Prégardien, David Wilson-Johnson / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt
EAC+LOG+CUE | FLAC: 318 MB | Artwork | 5% Recovery Info
Label/Cat#: Philips # 442 119-2 | Country/Year: Germany 1994
Genre: Classical | Style: Baroque, Sacred, Vocal
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Johann Sebastian Bach - Gustav Leonhardt - Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11 (1994)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 21. January 2012, 17:38
Johann Sebastiann Bach / Oster-Oratorium / Himmelfahrts-Oratorium
Used drive : Optiarc DVD RW AD-7243S Adapter: 6 ID: 0
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
Used output format : User Defined Encoder
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Quality : High
Add ID3 tag : No
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Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
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End of status report
EAC extraction logfile from 21. January 2012, 17:38
Johann Sebastiann Bach / Oster-Oratorium / Himmelfahrts-Oratorium
Used drive : Optiarc DVD RW AD-7243S Adapter: 6 ID: 0
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
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : D:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.33 | 4:11.00 | 33 | 18857
2 | 4:11.33 | 4:13.00 | 18858 | 37832
3 | 8:24.33 | 5:37.12 | 37833 | 63119
4 | 14:01.45 | 0:54.63 | 63120 | 67232
5 | 14:56.33 | 10:51.00 | 67233 | 116057
6 | 25:47.33 | 0:42.00 | 116058 | 119207
7 | 26:29.33 | 7:28.00 | 119208 | 152807
8 | 33:57.33 | 0:53.12 | 152808 | 156794
9 | 34:50.45 | 5:51.63 | 156795 | 183182
10 | 40:42.33 | 0:38.00 | 183183 | 186032
11 | 41:20.33 | 2:35.00 | 186033 | 197657
12 | 43:55.33 | 5:21.00 | 197658 | 221732
13 | 49:16.33 | 0:29.50 | 221733 | 223957
14 | 49:46.08 | 1:05.25 | 223958 | 228857
15 | 50:51.33 | 6:59.00 | 228858 | 260282
16 | 57:50.33 | 0:26.00 | 260283 | 262232
17 | 58:16.33 | 1:05.25 | 262233 | 267132
18 | 59:21.58 | 1:01.25 | 267133 | 271732
19 | 60:23.08 | 0:35.00 | 271733 | 274357
20 | 60:58.08 | 0:40.00 | 274358 | 277357
21 | 61:38.08 | 6:59.25 | 277358 | 308807
22 | 68:37.33 | 4:52.00 | 308808 | 330707
Range status and errors
Selected range
Filename E:\CDImage.wav
Peak level 100.0 %
Range quality 100.0 %
Test CRC 3ED8938D
Copy CRC 3ED8938D
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 7) [8B8A5EB1]
Track 2 accurately ripped (confidence 7) [BE2B6C94]
Track 3 accurately ripped (confidence 7) [FD20307C]
Track 4 accurately ripped (confidence 7) [3CAE59E9]
Track 5 accurately ripped (confidence 7) [415227D3]
Track 6 accurately ripped (confidence 7) [7EE18653]
Track 7 accurately ripped (confidence 7) [0E9F15CE]
Track 8 accurately ripped (confidence 7) [7E0B0007]
Track 9 accurately ripped (confidence 7) [F254B790]
Track 10 accurately ripped (confidence 7) [F7C28B86]
Track 11 accurately ripped (confidence 7) [825CEA90]
Track 12 accurately ripped (confidence 7) [019E4D6E]
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Track 15 accurately ripped (confidence 7) [AAF86F86]
Track 16 accurately ripped (confidence 7) [5EE0F095]
Track 17 accurately ripped (confidence 7) [B4947225]
Track 18 accurately ripped (confidence 7) [D3FD2F9A]
Track 19 accurately ripped (confidence 7) [62517A69]
Track 20 accurately ripped (confidence 7) [A3F04A7A]
Track 21 accurately ripped (confidence 7) [82B31677]
Track 22 accurately ripped (confidence 7) [064F2885]
All tracks accurately ripped
End of status report
foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2014-04-20 20:29:19
––––––––––––––––––––––––––––––––––––––––
Analyzed: Johann Sebastiann Bach / Oster-Oratorium / Himmelfahrts-Oratorium
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -1.38 dB -21.51 dB 4:11 01-BWV 249 - 1. Sinfonia
DR12 -9.76 dB -26.26 dB 4:13 02-BWV 249 - 2. Adagio
DR16 -1.03 dB -21.36 dB 5:37 03-BWV 249 - 3. Chor und Duett (T B): Kommt, eilet und laufet, ihr flüchtigen Füße
DR13 -7.81 dB -27.22 dB 0:55 04-BWV 249 - 4. Rezitativ (A S T B): O kalter Männer Sinn!
DR14 -7.89 dB -28.72 dB 10:51 05-BWV 249 - 5. Arie (S): Seele, deine Spezereien
DR12 -10.89 dB -32.48 dB 0:42 06-BWV 249 - 6. Rezitativ (T B A): Hier ist die Gruft
DR15 -10.85 dB -29.83 dB 7:28 07-BWV 249 - 7. Arie (T): Sanfte soll mein Todeskummer
DR12 -7.91 dB -27.74 dB 0:53 08-BWV 249 - 8. Rezitativ (S A): Indessen seufzen wir mit brennender Begier
DR16 -6.57 dB -26.96 dB 5:52 09-BWV 249 - 9. Arie (A): Saget, saget mir geschwinde
DR12 -14.18 dB -30.15 dB 0:38 10-BWV 249 - 10. Rezitativ (B): Wir sind erfreut
DR14 -0.08 dB -17.80 dB 2:35 11-BWV 249 - 11. Chor: Preis und Dank
DR14 0.00 dB -18.93 dB 5:21 12-BWV 11 - 1. Chor: Lobet Gott in seinen Reichen
DR11 -16.64 dB -31.70 dB 0:30 13-BWV 11 - 2. Rezitativ (T): Der Herr Jesus hub seine Hände auf
DR13 -13.58 dB -31.02 dB 1:05 14-BWV 11 - 3. Rezitativ (B): Ach, Jesu, ist dein Abschied schon so nah?
DR17 -7.30 dB -29.85 dB 6:59 15-BWV 11 - 4. Arie (A): Ach, bleibe doch, mein liebstes Leben
DR9 -13.38 dB -31.94 dB 0:26 16-BWV 11 - 5. Rezitativ (T): Und ward aufgehoben zusehends
DR11 -7.95 dB -24.19 dB 1:05 17-BWV 11 - 6. Choral: Nun lieget alles unter dir
DR13 -10.09 dB -26.43 dB 1:01 18-BWV 11 - 7a. Rezitativ (T B): Und da sie ihm nachsahen gen Himmel fahren
DR13 -9.90 dB -28.21 dB 0:35 19-BWV 11 - 7b. Rezitativ (A): Ach ja! So komme bald zurück
DR12 -12.50 dB -31.02 dB 0:40 20-BWV 11 - 7c. Rezitativ (T): Sie aber beteten ihn an
DR15 -8.45 dB -28.33 dB 6:59 21-BWV 11 - 8. Arie (S): Jesu, deine Gnadenblicke
DR12 -0.80 dB -19.22 dB 4:52 22-BWV 11 - 9. Choral: Wenn soll es doch geschehen?
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 22
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 561 kbps
Codec: FLAC
================================================================================
log date: 2014-04-20 20:29:19
––––––––––––––––––––––––––––––––––––––––
Analyzed: Johann Sebastiann Bach / Oster-Oratorium / Himmelfahrts-Oratorium
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -1.38 dB -21.51 dB 4:11 01-BWV 249 - 1. Sinfonia
DR12 -9.76 dB -26.26 dB 4:13 02-BWV 249 - 2. Adagio
DR16 -1.03 dB -21.36 dB 5:37 03-BWV 249 - 3. Chor und Duett (T B): Kommt, eilet und laufet, ihr flüchtigen Füße
DR13 -7.81 dB -27.22 dB 0:55 04-BWV 249 - 4. Rezitativ (A S T B): O kalter Männer Sinn!
DR14 -7.89 dB -28.72 dB 10:51 05-BWV 249 - 5. Arie (S): Seele, deine Spezereien
DR12 -10.89 dB -32.48 dB 0:42 06-BWV 249 - 6. Rezitativ (T B A): Hier ist die Gruft
DR15 -10.85 dB -29.83 dB 7:28 07-BWV 249 - 7. Arie (T): Sanfte soll mein Todeskummer
DR12 -7.91 dB -27.74 dB 0:53 08-BWV 249 - 8. Rezitativ (S A): Indessen seufzen wir mit brennender Begier
DR16 -6.57 dB -26.96 dB 5:52 09-BWV 249 - 9. Arie (A): Saget, saget mir geschwinde
DR12 -14.18 dB -30.15 dB 0:38 10-BWV 249 - 10. Rezitativ (B): Wir sind erfreut
DR14 -0.08 dB -17.80 dB 2:35 11-BWV 249 - 11. Chor: Preis und Dank
DR14 0.00 dB -18.93 dB 5:21 12-BWV 11 - 1. Chor: Lobet Gott in seinen Reichen
DR11 -16.64 dB -31.70 dB 0:30 13-BWV 11 - 2. Rezitativ (T): Der Herr Jesus hub seine Hände auf
DR13 -13.58 dB -31.02 dB 1:05 14-BWV 11 - 3. Rezitativ (B): Ach, Jesu, ist dein Abschied schon so nah?
DR17 -7.30 dB -29.85 dB 6:59 15-BWV 11 - 4. Arie (A): Ach, bleibe doch, mein liebstes Leben
DR9 -13.38 dB -31.94 dB 0:26 16-BWV 11 - 5. Rezitativ (T): Und ward aufgehoben zusehends
DR11 -7.95 dB -24.19 dB 1:05 17-BWV 11 - 6. Choral: Nun lieget alles unter dir
DR13 -10.09 dB -26.43 dB 1:01 18-BWV 11 - 7a. Rezitativ (T B): Und da sie ihm nachsahen gen Himmel fahren
DR13 -9.90 dB -28.21 dB 0:35 19-BWV 11 - 7b. Rezitativ (A): Ach ja! So komme bald zurück
DR12 -12.50 dB -31.02 dB 0:40 20-BWV 11 - 7c. Rezitativ (T): Sie aber beteten ihn an
DR15 -8.45 dB -28.33 dB 6:59 21-BWV 11 - 8. Arie (S): Jesu, deine Gnadenblicke
DR12 -0.80 dB -19.22 dB 4:52 22-BWV 11 - 9. Choral: Wenn soll es doch geschehen?
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 22
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 561 kbps
Codec: FLAC
================================================================================
CD Info:
Johann Sebastian Bach - Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11
Monika Frimmer, Ralf Popken, Christoph Prégardien, David Wilson-Johnson / Orchestra and Choir of the Age of Enlightenment - Gustav Leonhardt
Label: Philips
Catalog#: 442 119-2
Format: CD, Album
Country: Germany
Released: 1994
Genre: Classical, Sacred
Style: Baroque, Vocal
Tracklist:
Kommt, eilet und laufet, ihr flüchtigen Füße
Oster-Oratorium BWV 249
Maria Jacobi (S), Maria Magdalena (A), Petrus (T), Johannes (B)
1. Sinfonia
2. Adagio
3. Chor und Duett (Tenor, Baß) «Kommt, eilet und laufet»
4. Rezitativ (Altus, Sopran, Tenor, Baß) «O kalter Männer Sinn!»
5. Arie (Sopran) «Seele, deine Spezereien»
6. Rezitativ (Tenor, Baß, Altus) «Hier ist die Gruft»
7. Arie (Tenor) «Sanfte soll mein Todeskummer»
8. Rezitativ und Arioso (Sopran, Altus) «Indessen seufzen wir mit brennender Begier»
9. Arie (Altus) «Saget, saget mir geschwinde»
10. Rezitativ (Baß) «Wir sind erfreut»
11. Chor und Allegro «Preis und Dank»
Lobet Gott in seinen Reichen
Himmelfahrts-Oratorium BWV 11
1. Chor «Lobet Gott in seinen Reichen»
2. Rezitativ (Tenor) «Der Herr Jesus hub seine Hände auf»
3. Rezitativ (Baß) «Ach, Jesu, ist dein Abschied schon so nah?»
4. Arie (Altus) «Ach, bleibe doch, mein liebstes Leben»
5. Rezitativ (Tenor) «Und ward aufgehoben zusehends»
6. Choral «Nun lieget alles unter dir»
7a. Rezitativ (Tenor, Baß) «Und da sie ihm nachsahen gen Himmel fahren»
7b. Rezitativ (Altus) «Ach ja! So komme bald zurück»
7c. Rezitativ (Tenor) «Sie aber beteten ihn an»
8. Arie (Sopran) «Jesus, deine Gnadenblicke»
9. Choral «Wenn soll es doch geschehen»
Credits
Monika Frimmer Sopran
Ralf Popken Altus
Christoph Prégardien Tenor
David Wilson-Johnson Baß
Orchestra and Choir
of the Age of Enlightenment
Gustav Leonhardt
Artist Biography by Jeremy Grimshaw
Though participants in the "authentic performance practice" movement might insist otherwise, the search for the old is really a search for the new. This statement certainly captures the spirit that Dutch keyboardist Gustav Leonhardt brought to his early music performances in the 1950s. His style was characterized not by a rigorous observance of rules, but by the intuitive, almost spiritual connection it tried to establish with the music – a kind of authenticity that sought validation not so much from a rigorously academic accuracy (though Leonhardt is by no means historically careless) as from its having an "authentic" effect on the listener.
Born in Amsterdam in 1928, Leonhardt learned cello and piano before entering the Schola Cantorum in Basel to study organ and harpsichord with Eduard Müller. After graduating in 1950, he undertook a year of musicological studies before accepting a position at the Vienna Academy. Shortly thereafter, he returned to his home town, where he assumed a position at the Amsterdam Conservatory that he would keep for decades thereafter.
His first public performance took place in 1950, when he performed J.S. Bach's The Art of the Fugue for a Viennese audience. This marked the beginning of a legendary and influential career that would take him to performance venues all over the world, setting stylistic and interpretive standards for keyboard music dating from the early 1500s to the late 1700s. His treatment of the works of Couperin, Froberger, and Frescobaldi were pivotal in affecting a shift in Baroque performance practice from the motoric to the malleable.
Beginning in the 1950s, he also established the Leonhardt Consort, a group applying his same performance ideals to chamber works; during his career he also demonstrated great skill in conducting early choral and operatic works. Along the way, he tutored an entire generation of the most vibrant and stylistically varied early music figures, including Christopher Hogwood, Pierre Hantaï, and Ton Koopman.
When Leonhardt spoke of "correct" style, certain parameters were clear, while others left much to be read between the lines. The use of the proper instrument, for example, was crucial to Leonhardt: one should not play a piece from a particular country and a particular time on an instrument from a different region and century (and of course it goes without saying what problems he might have had with playing 18th century music on a 20th century Steinway). His discussion of style, however, was quite flexible – or at least elusive: "I cannot say it's a secret, but it's almost impossible to describe in words….Essentially, it must be based on a dynamic wish." Though he did consult primary sources to justify his sound, which fell somewhere between the rubato sound of Landowska and the robotic sound of her immediate successors, he insisted that the truest "rules" about the music he played were to be discovered through the playing itself. allmusicguide
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Johann Sebastian Bach - Gustav Leonhardt - Cantatas: Oster-Oratorium BWV 249, Himmelfahrts-Oratorium BWV 11 (1994)
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