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Biber - Les Plaisirs du Parnasse, Plantier - Fidicinium Sacro-Profanum (2008) {Repost}

Posted By: luckburz

Date: 4 Dec 2012 05:37:52

Biber - Les Plaisirs du Parnasse, Plantier - Fidicinium Sacro-Profanum (2008) {Repost}

Heinrich Ignaz Franz von Biber (1644-1704) - Fidicinium Sacro-Profanum
Les Plaisirs du Parnasse / David Plantier
EAC+LOG+CUE | FLAC: 368 MB | Full Artwork | 5% Recovery Info
Label/Cat#: ZigZag # ZZT080701 | Country/Year: France 2008
Genre: Classical | Style: Baroque

MD5 [X] CUE [X] LOG [X] INFO TEXT [X] ARTWORK [X]

selfrip [] not my rip [X]

EAC

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 20. October 2010, 11:00

Les Plaisirs du Parnasse, David Plantier / Biber - Fidicinium Sacro Profanum

Used drive : PLEXTOR DVDR PX-755A Adapter: 1 ID: 1

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

Read offset correction : 30
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 : Installed external ASPI interface

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 | 11:57.02 | 0 | 53776
2 | 11:57.02 | 5:48.34 | 53777 | 79910
3 | 17:45.36 | 3:49.02 | 79911 | 97087
4 | 21:34.38 | 7:10.72 | 97088 | 129409
5 | 28:45.35 | 3:33.71 | 129410 | 145455
6 | 32:19.31 | 6:53.40 | 145456 | 176470
7 | 39:12.71 | 4:26.45 | 176471 | 196465
8 | 43:39.41 | 3:33.23 | 196466 | 212463
9 | 47:12.64 | 7:03.51 | 212464 | 244239
10 | 54:16.40 | 5:17.56 | 244240 | 268070
11 | 59:34.21 | 6:24.06 | 268071 | 296876
12 | 65:58.27 | 5:49.17 | 296877 | 323068

Range status and errors

Selected range

Filename Z:\NetLab\Biber - Fidicinium Sacro Profanum (Les Plaisirs du Parnasse, David Plantier) (2008)\Biber - Fidicinium Sacro Profanum (Les Plaisirs du Parnasse, David Plantier).wav

Peak level 93.9 %
Range quality 100.0 %
Test CRC 4F96CC64
Copy CRC 4F96CC64
Copy OK

No errors occurred

AccurateRip summary

Track 1 accurately ripped (confidence 6) [CA660056]
Track 2 accurately ripped (confidence 6) [E176795F]
Track 3 accurately ripped (confidence 6) [75130C56]
Track 4 accurately ripped (confidence 6) [2A3174F7]
Track 5 accurately ripped (confidence 6) [61862B9F]
Track 6 accurately ripped (confidence 6) [482B61E1]
Track 7 accurately ripped (confidence 6) [73A350C9]
Track 8 accurately ripped (confidence 6) [4B079660]
Track 9 accurately ripped (confidence 6) [7F3F6F25]
Track 10 accurately ripped (confidence 6) [A5C815CB]
Track 11 accurately ripped (confidence 6) [42A3B1EB]
Track 12 accurately ripped (confidence 6) [D1AA9380]

All tracks accurately ripped

End of status report

auCDtect

auCDtect: CD records authenticity detector, version 0.8.2
Copyright © 2004 Oleg Berngardt. All rights reserved.
Copyright © 2004 Alexander Djourik. All rights reserved.

Detect mode (0..40 with 0 = most accurate): 8 (default)

––––––––––––––––––––––––––––––
[Les Plaisirs du Parnasse, David Plantier - Biber - Fidicinium Sacro Profanum.wav]
Detected average hi-boundary frequency: 2.041363e+004 Hz
Detected average lo-boundary frequency: 1.386623e+004 Hz
Detected average hi-cut frequency: 2.025685e+004 Hz
Detected average lo-cut frequency: 1.297493e+004 Hz
Maximum probablis boundary frequency: 2.189100e+004 Hz
Coefficient of nonlinearity of a phase: 2.050971e+000
First order smothness: 3.478851e-001
Second order smothness: 7.741560e-001
––––––––––––––––––––––––––––––
This track looks like CDDA with probability 94%.

Dynamic

foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2012-10-08 12:29:43

––––––––––––––––––––––––––––––––––––––––
Analyzed: Les Plaisirs du Parnasse, David Plantier / Biber - Fidicinium Sacro Profanum
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.54 dB -17.07 dB 11:57 01-Sonate No 1 in B Minor
DR12 -1.60 dB -16.05 dB 5:48 02-Sonate No 2 in F Major
DR11 -1.22 dB -15.64 dB 3:49 03-Sonate No 3 in D Minor
DR12 -1.09 dB -17.31 dB 7:11 04-Sonate No 4 in G Minor
DR12 -1.08 dB -17.46 dB 3:34 05-Sonate No 5 in C Major
DR13 -0.61 dB -16.43 dB 6:54 06-Sonate No 6 in A Minor
DR13 -0.67 dB -17.64 dB 4:27 07-Sonate No 7 in D Major
DR12 -1.31 dB -17.18 dB 3:33 08-Sonate No 8 in B flat Major
DR12 -1.38 dB -17.10 dB 7:04 09-Sonate No 9 G Major
DR12 -0.98 dB -17.89 dB 5:18 10-Sonate No 10 in E Major
DR12 -1.28 dB -18.30 dB 6:24 11-Sonate No 11 in C Minor
DR12 -1.61 dB -17.59 dB 5:49 12-Sonate No 12 in A Major
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 12
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 717 kbps
Codec: FLAC
================================================================================

CD Info:

Heinrich Ignaz Franz von Biber (1644-1704) - Les Plaisirs du Parnasse / David Plantier - Fidicinium Sacro-Profanum

Label: Zig Zag Territoires
Catalog#: ZZT080701
Format: CD, Album
Country: France
Released: 2008
Genre: Classical
Style: Baroque

Tracklist:

1.Sonata no 1 in B minor
2.Sonata no 2 in F major
3.Sonata no 3 in D minor
4.Sonata no 4 in G minor
5.Sonata no 5 in C Major
6.Sonata no 6 in A minor
7.Sonata no 7 in D major
8.Sonata no 8
9.Sonata no 9
10.Sonata no 10
11.Sonata no 11 in C minor
12.Sonata no 12 in A major

Les Plaisirs du Parnasse:

David Plantier (Conductor & Violin)
Eva Borhi (Violin)
Peter Barczi (altos)
Patricia Gagnon (altos)
Maya Amrein (cello)
Shiruko Noiri (archlute)
Andrea Marchiol (organ)

"Fidicinium Sacro Profanum, Sonata per chiesa e per camera, Sacro profanus Concentus musicus: these are the titles of collections or instrumental pieces by the two greatest Austrian composers of the late seventeenth century, Johann Heinrich Schmelzer and Heinrich Ifgaz Franz Biber.

Their learned and mysterious names allude to the fact that the music is intended to serve purposes both profane and sacred, even though it is purely instrumental.

How should we interpret this apparent contradiction today? Is the declared juxtaposition of styles confirmed in the scores themselves? Are we dealing here with a mere artifice, calculated to stimulate the curiosity of the amateur, or with the revelation of a musical language undergoing profound transformation?

The multiplication of collections on this theme made it a somewhat commonplace one.

But, with his Fidicinium, Biber exploits the subject in a wholly innovative fashion, thanks to multiple musical and symbolic references, thereby asserting his status as one of the major figures of his era." - David Plantier

Thanks to pr3ss!

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