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Frederic Chopin - Evgeni Koroliov - Mazurkas [Tacet TACET 183] {Germany 2009}

Posted By: luckburz

Date: 19 May 2013 08:33:18

Frederic Chopin - Evgeni Koroliov - Mazurkas [Tacet TACET 183] {Germany 2009}

Frederic Chopin - Evgeni Koroliov - Mazurkas
EAC+LOG+CUE | FLAC: 457 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Tacet # TACET 183 | Country/Year: Germany 2009
Genre: Classical | Style: Romantic

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

my rip [X] not my rip [ ]

EAC

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

EAC extraction logfile from 4. December 2012, 6:44

Evgeni Koroliov / Chopin: Mazurkas

Used drive : PIONEER BD-RW BDR-206 Adapter: 0 ID: 2

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 : 1024 kBit/s
Quality : High
Add ID3 tag : Yes
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 | 3:07.11 | 0 | 14035
2 | 3:07.11 | 2:47.74 | 14036 | 26634
3 | 5:55.10 | 2:21.58 | 26635 | 37267
4 | 8:16.68 | 1:57.44 | 37268 | 46086
5 | 10:14.37 | 2:32.63 | 46087 | 57549
6 | 12:47.25 | 4:38.72 | 57550 | 78471
7 | 17:26.22 | 5:15.26 | 78472 | 102122
8 | 22:41.48 | 2:07.51 | 102123 | 111698
9 | 24:49.24 | 1:22.35 | 111699 | 117883
10 | 26:11.59 | 3:52.67 | 117884 | 135350
11 | 30:04.51 | 1:42.41 | 135351 | 143041
12 | 31:47.17 | 1:47.50 | 143042 | 151116
13 | 33:34.67 | 6:23.01 | 151117 | 179842
14 | 39:57.68 | 3:20.61 | 179843 | 194903
15 | 43:18.54 | 1:41.44 | 194904 | 202522
16 | 45:00.23 | 1:52.03 | 202523 | 210925
17 | 46:52.26 | 1:57.71 | 210926 | 219771
18 | 48:50.22 | 5:26.09 | 219772 | 244230
19 | 54:16.31 | 2:17.07 | 244231 | 254512
20 | 56:33.38 | 2:48.13 | 254513 | 267125
21 | 59:21.51 | 3:00.66 | 267126 | 280691
22 | 62:22.42 | 1:45.44 | 280692 | 288610
23 | 64:08.11 | 2:00.25 | 288611 | 297635
24 | 66:08.36 | 4:32.04 | 297636 | 318039
25 | 70:40.40 | 2:19.65 | 318040 | 328529

Range status and errors

Selected range

Filename F:\=== VINYL RIPS ===\=== EAC===\X FRESH RIP\Chopin- Evgeni Koroliov - Mazurkas.wav

Peak level 85.2 %
Extraction speed 7.8 X
Range quality 99.9 %
Test CRC 18224B03
Copy CRC 18224B03
Copy OK

No errors occurred

AccurateRip summary

Track 1 accurately ripped (confidence 10) [4AA699F3] (AR v1)
Track 2 accurately ripped (confidence 10) [734F7E96] (AR v1)
Track 3 accurately ripped (confidence 10) [1B7B49FA] (AR v1)
Track 4 accurately ripped (confidence 10) [67B2D328] (AR v1)
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Track 11 accurately ripped (confidence 10) [D8A7CCFA] (AR v1)
Track 12 accurately ripped (confidence 10) [18D77304] (AR v1)
Track 13 accurately ripped (confidence 10) [D8391B62] (AR v1)
Track 14 accurately ripped (confidence 10) [FBC72934] (AR v1)
Track 15 accurately ripped (confidence 10) [F449A602] (AR v1)
Track 16 accurately ripped (confidence 10) [80320A4B] (AR v1)
Track 17 accurately ripped (confidence 10) [1A94C207] (AR v1)
Track 18 accurately ripped (confidence 10) [9076E727] (AR v1)
Track 19 accurately ripped (confidence 9) [70287F68] (AR v1)
Track 20 accurately ripped (confidence 10) [935AC264] (AR v1)
Track 21 accurately ripped (confidence 10) [B5340638] (AR v1)
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Track 23 accurately ripped (confidence 10) [98FC783F] (AR v1)
Track 24 accurately ripped (confidence 10) [B3F28990] (AR v1)
Track 25 accurately ripped (confidence 9) [2EF5A648] (AR v1)

All tracks accurately ripped

End of status report

–– CUETools DB Plugin V2.1.3

[CTDB TOCID: _aLJTxbE55b.N_o.V73q5oSIg.M-] found, Submit result: _aLJTxbE55b.N_o.V73q5oSIg.M- has been confirmed
[e844c3bf] (14/14) Accurately ripped

==== Log checksum 6BC5278B10B01A6377F62C71B0FA3BE718AD12D60FD4B4382C0F3370AAE0FC5E ====

Dynamic

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2012-12-04 06:52:21

––––––––––––––––––––––––––––––––––––––––
Analyzed: Evgeni Koroliov / Chopin: Mazurkas
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -2.82 dB -22.54 dB 3:07 01-Mazurka op. 6 no. 1 in F sharp minor
DR11 -10.08 dB -26.95 dB 2:48 02-Mazurka op. 24 no. 1 in G minor
DR13 -4.70 dB -23.62 dB 2:22 03-Mazurka op. 7 no. 1 in B flat major
DR13 -7.19 dB -26.22 dB 1:58 04-Mazurka op. 17 no. 2 in E minor
DR13 -6.91 dB -25.59 dB 2:33 05-Mazurka op. 24 no. 2 in C major
DR16 -6.01 dB -29.10 dB 4:39 06-Mazurka op. 17 no. 4 in A minor
DR14 -2.44 dB -23.21 dB 5:15 07-Mazurka op. 24 no. 4 in B flat minor
DR14 -4.60 dB -24.66 dB 2:08 08-Mazurka op. 63 no. 3 in C sharp minor
DR12 -6.90 dB -23.59 dB 1:22 09-Mazurka op. 7 no. 4 in A flat major
DR14 -3.28 dB -23.60 dB 3:53 10-Mazurka op. 30 no. 4 in C sharp minor
DR14 -3.46 dB -23.17 dB 1:43 11-Mazurka op. 30 no. 2 in B minor
DR13 -5.44 dB -23.04 dB 1:48 12-Mazurka op. 56 no. 2 in C major
DR14 -5.27 dB -24.64 dB 6:23 13-Mazurka op. 56 no. 3 in C minor
DR12 -10.60 dB -29.13 dB 3:21 14-Mazurka op. 67 no. 4 in A minor (posthumous)
DR12 -8.21 dB -26.68 dB 1:42 15-Mazurka op. 30 no. 1 in C minor
DR12 -9.08 dB -26.06 dB 1:52 16-Mazurka op. 63 no. 2 in F minor
DR12 -6.58 dB -24.57 dB 1:58 17-Mazurka op. 41 no. 4 in A flat major
DR14 -3.56 dB -23.94 dB 5:26 18-Mazurka op. 50 no. 3 in C sharp minor
DR14 -3.10 dB -22.42 dB 2:17 19-Mazurka op. 63 no. 1 in B major
DR13 -2.17 dB -22.26 dB 2:48 20-Mazurka op. 41 no. 2 in E minor
DR15 -7.54 dB -28.52 dB 3:01 21-Mazurka op. 68 no. 2 in A minor (posthumous)
DR13 -1.39 dB -20.19 dB 1:46 22-Mazurka op. 68 no. 1 in C major (posthumous)
DR14 -9.51 dB -29.45 dB 2:00 23-Mazurka op. 33 no. 1 in G sharp minor
DR16 -6.35 dB -28.58 dB 4:32 24-Mazurka 'à Emile Gaillard' in A minor
DR13 -9.46 dB -29.35 dB 2:20 25-Mazurka op. 68 no. 4 in F minor (posthumous)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 25
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 372 kbps
Codec: FLAC
================================================================================

CD Info:

Frederic Chopin - Evgeni Koroliov - Mazurkas

Label: Tacet
Catalog#: TACET 183
Format: CD, Album
Country: Germany
Released: 2009
Genre: Classical
Style: Romantic

Tracklist:

1 - Mazurka op. 6 no. 1 in F sharp minor 3:07
2 - Mazurka op. 24 no. 1 in G minor 2:48
3 - Mazurka op. 7 no. 1 in B flat major 2:22
4 - Mazurka op. 17 no. 2 in E minor 1:58
5 - Mazurka op. 24 no. 2 in C major 2:33
6 - Mazurka op. 17 no. 4 in A minor 4:39
7 - Mazurka op. 24 no. 4 in B flat minor 5:15
8 - Mazurka op. 63 no. 3 in C sharp minor 2:08
9 - Mazurka op. 7 no. 4 in A flat major 1:22
10 - Mazurka op. 30 no. 4 in C sharp minor 3:53
11 - Mazurka op. 30 no. 2 in B minor 1:43
12 - Mazurka op. 56 no. 2 in C major 1:48
13 - Mazurka op. 56 no. 3 in C minor 6:23
14 - Mazurka op. 67 no. 4 in A minor (posthumous) 3:21
15 - Mazurka op. 30 no. 1 in C minor 1:42
16 - Mazurka op. 63 no. 2 in F minor 1:52
17 - Mazurka op. 41 no. 4 in A flat major 1:58
18 - Mazurka op. 50 no. 3 in C sharp minor 5:26
19 - Mazurka op. 63 no. 1 in B major 2:17
20 - Mazurka op. 41 no. 2 in E minor 2:48
21 - Mazurka op. 68 no. 2 in A minor (posthumous) 3:01
22 - Mazurka op. 68 no. 1 in C major (posthumous) 1:46
23 - Mazurka op. 33 no. 1 in G sharp minor 2:00
24 - Mazurka 'à Emile Gaillard' in A minor 4:32
25 - Mazurka op. 68 no. 4 in F minor (posthumous) 2:20

(…) I have always revered Rubinstein’s performances and Evgeni Koroliov’s are in the same vein. Koroliov’s mazurkas are above all, songful. He plays with full, rounded tone, relatively leisurely pacing, and is more likely to let things dissolve into reverie than to supply extra nervous energy. He plays with a certain reserve, but with plenty of rhythmic lilt, elegance, and subtle rubato. It was a pleasure to listen to all 25 at one sitting. (…) For warm-hearted performances that are more nostalgic than jaunty and more introspective than aggressive, Evgeni Koroliov is highly recommended. He is helped by a flattering acoustic in Tacet’s recording.
Paul Orgel Fanfare

Chopin’s mazurkas cover the entire span of his creative life and absorb the Polish national style in audacious musical harmony.

Chopin’s 58 mazurkas, written over the entire span of his life, absorb the Polish national style and allow his impulse for dance and vocal keyboard writing full sway. The essence of the mazurka lies in the national rhythm, 3/8, a subtle alternation of the beat between the first beat of the bar which may linger into the second or third beat. Meyerbeer remained convinced that the beat expressed itself in duple time, while Chopin insisted that three beats underlay each gesture. The melodic kernels divide themselves into ternary forms, harkening to bagpipe music, modal expressions in fifths or augmented fourths, slinky scales in Neapolitan or Lydian harmony, any number of keyboard ornaments, and references to gypsy or klezmer music. The epic C Minor, Op. 56, No. 3 provides an excellent case in point of a harmonic labyrinth that can paint mystery as well as rhythmic life to the national dance. As to the form, the mazurka can absorb its national energies from the Poland or Mazovia: Mazurek, Oberek, Ksebka, Kujuwiak, or Sousedska, much as Dvorak had a full arsenal of national styles for his Slavonic Dances.

Russian virtuoso Evgeni Koroliov (b. 1949) plays the Steinway D-274 with a particularly soft patina, so intimacy is the key. The concentration on dynamics increases our attentiveness to harmonic modulation, as in the rich B-flat Minor, Op. 24, No. 4. Chopin’s capacity to build a knotty harmonic tapestry out of a simple dance comes forth in the F Minor, Op. 63, No. 2. Koroliov’s left hand remains rock-like, fixed in the essential meter, while the right roams freely and indulges in tempo rubato. The agonized A Minor, Op. 17, No. 4, which opens with the soft pedal, extends a melancholy song, bleak and haunted. The mazurkas of the late style, like the C-sharp Minor, Op. 63, No. 3 possess a metric subtlety that defies easy definition, since the pulse slides between beats like refined oil. The early mazurkas, on the other hand, assert themselves with the militant arrogance of self-possessed confidence, as in the two from Op. 7. But then so does the C Minor, Op. 56, No. 2 in C Major, whose stomping dance creates three-hand effects. The posthumous Op. 67, No. 4 in A Minor reveals how much lyric poetry can infiltrate the mazurka form. The B Minor Mazurka, Op. 30, No. 2 exploits incremental repetition in assorted color dynamics, the principle that spare means yield the most startling, varied effects; here, a two-bar falling figure played seven times.

The Op. 41, Op. 50, Op. 56, and Op. 33 mazurkas represent Chopin’s time with Georges Sand in Nohant, so the erotic content may be more palpable. This sultry quality becomes evident in the wonderfully inventive C-sharp Minor, Op. 50, No. 3, which spins out a series of balanced measures that caress and vary the same phrase groups. Koroliov follows the C-sharp Minor with the concerto-like B Major Mazurka, Op. 63, No. 1, whose passing turns bespeak a world of ad libitum ornamentation within a fixed rhythm. The E Minor, Op. 41, No. 2 places us in the same thoughtful world as the “Funeral March” Sonata, exquisitely controlled. The earliest mazurka, Op. 68, No. 2 in A Minor proceeds as cautious but noble dance in Lydian mode whose graceful turns, sotto voce, would be veronicas in an elegant bullfight. Both the G-sharp Minor, Op. 33, No. 1 and the A Minor (“a Emile Gaillard”) are further products of the Georges Sand liaison, subtle and arched tunes, whose piquant effects come as much from ritards and silences as from the modally harmonized chords. Finally, the melancholy F Minor Mazurka, Op. 68, No. 4, published posthumously. Dreamy and painfully nostalgic at once, Koroliov gives it a valedictory affect, the sweet sorrow of a parting that looks forward to future trysts.
Gary Lemco Audiophile Audition

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