[古典] (Classical, Minimalism) John Adams - Harmonium {Edo de Waart, San Francisco Symphony Orchestra and Chorus} - 1984 (ECM New Series 1277), FLAC (tracks+.cue), lossless

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John Adams - Harmonium {Edo de Waart, San Francisco Symphony Orchestra and Chorus}
Жанр: Classical, Minimalism
Страна-производитель диска: Германия
Год издания диска: 1984
Издатель (лейбл): ECM New Series
Номер по каталогу: ECM 1277
Аудиокодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 00:32:16
Источник: скачано с redacted
Наличие сканов в содержимом раздачи: нет
01. Part 1: Negative Love (10:39)
02. Part 2: Because I Could Not Stop for Death/Wild Nights (21:37)
San Francisco Symphony Orchestra
San Francisco Symphony Chorus
Edo de Waart - conductor
Recorded at Davies Symphony Hall, San Francisco in January 1984.
Лог создания рипа

Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 30. October 2017, 4:03
San Francisco Symphony Orchestra and Chorus; Edo de Waart / John Adams - Harmonium
Used drive  : HL-DT-STDVDRAM GP50NB40   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                : 128 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files (x86)\Exact Audio Copy\Flac\flac.exe
Additional command line options : -8 -e -p -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  |  0:00.33 | 10:38.42 |        33    |    47924
        2  | 10:39.00 | 21:37.33 |     47925    |   145232
Track  1
     Filename C:\Users\Al\Desktop\John Adams - Harmonium - S.F. Symphony Orch. & Chorus; Edo De Waart (1984) [FLAC]\01 - Harmonium - Part 1 -- Negative Love.wav
     Pre-gap length  0:00:02.44
     Peak level 81.2 %
     Extraction speed 1.3 X
     Track quality 100.0 %
     Test CRC BDEA54EA
     Copy CRC BDEA54EA
     Accurately ripped (confidence 13)  [582AEE23]  (AR v2)
     Copy OK
Track  2
     Filename C:\Users\Al\Desktop\John Adams - Harmonium - S.F. Symphony Orch. & Chorus; Edo De Waart (1984) [FLAC]\02 - Harmonium - Part 2 -- Because I Could Not Stop For Death -- Wild Nights.wav
     Pre-gap length  0:00:00.96
     Peak level 74.3 %
     Extraction speed 1.7 X
     Track quality 99.9 %
     Test CRC 2330D0FB
     Copy CRC 2330D0FB
     Accurately ripped (confidence 14)  [348F5B81]  (AR v2)
     Copy OK
All tracks accurately ripped
No errors occurred
End of status report
---- CUETools DB Plugin V2.1.6
[CTDB TOCID: XcfadHHBIQJ6aVqwlk36bHNT5yk-] found
Submit result: XcfadHHBIQJ6aVqwlk36bHNT5yk- has been confirmed
Track | CTDB Status
  1   | (12/15) Accurately ripped
  2   | (12/15) Accurately ripped
==== Log checksum 9527087ECAB7B47C92C63D3BC1A9A3508C4179E45587EE746A8E7C6947A7A354 ====

Содержание индексной карты (.CUE)

REM GENRE Classical
REM COMMENT "ExactAudioCopy v1.3"
CATALOG 0042282146526
PERFORMER "Edo de Waart & SFSO"
TITLE "John Adams: Harmonium"
FILE "01 - Part 1- Negative Love.wav" WAVE
    TITLE "Part 1: Negative Love"
    PERFORMER "Edo de Waart & SFSO"
    PREGAP 00:00:33
    INDEX 01 00:00:00
    TITLE "Part 2: Because I Could Not Stop for Death/Wild Nights"
    PERFORMER "Edo de Waart & SFSO"
    INDEX 00 10:37:45
FILE "02 - Part 2- Because I Could Not Stop for Death,Wild Nights.wav" WAVE
    INDEX 01 00:00:00

Отчет CUETools

[CUETools log; Date: 24.12.2020 1:36:54; Version: 2.1.6]
Pregap length 00:00:33.
[CTDB TOCID: XcfadHHBIQJ6aVqwlk36bHNT5yk-] found.
Track | CTDB Status
  1   | (34/37) Accurately ripped
  2   | (34/37) Accurately ripped
[AccurateRip ID: 0002f2a7-00081c7e-0d079002] found.
Track   [  CRC   |   V2   ] Status
01     [889da4df|582aee23] (10+18/28) Accurately ripped
02     [296a5b15|348f5b81] (09+19/28) Accurately ripped
Track Peak [ CRC32  ] [W/O NULL] [  LOG   ]
--   81,2 [B7098AEF] [B7A84B3E]
01   81,2 [BDEA54EA] [CE15CA46]   CRC32
02   74,2 [2330D0FB] [9B1558A8]   CRC32

Review by Tyran Grillo
Music emerges from a dark tunnel, a smooth and liquid train with a large chorus as passengers. The accelerated evolution of Harmonium is brought forth in what Adams calls a “preverbal creation scene,” an inescapable feeling of solitary light tinted with the weight of retrospection as the voices intercede. Harmonium seems to revel in self-awareness, building as it does through a series of dynamic swings from the threshold of audibility to ringing pronouncements of verse. It is a convoluted world where density and transparency coexist in equal measure.
At times this piece sounds like Adams’s popular Shaker Loops with words, at others like a Philip Glass tribute with characteristic pulses of flute and strings, at still others like a ritual of its own kind. It is a pastiche of poetry (John Donne and Emily Dickinson provide the texts), a bridge of intentions, a house with only two windows.
The recording quality here may polarize listeners somewhat. While on the one hand it captures the overall mood of the piece in a rather heterogeneous mix, on the other it loses detail in the quieter moments. I would imagine, however, that engineering choices in this case were dictated by Adams’s vision for the piece as a whole. It is meant to be a single “fabric of sound,” thereby necessitating a more distanced recording. It is like a lake: deceptively uniform from a distance, but promising new life and environments if only we can plunge into its depths. Yet somehow we are unable to take that plunge. The recording engineer, like the listener, is an observer here rather than an intruder. We do not approach this music; it approaches us, and it can only come so far before receding into its womb.


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