ABUSE FORM
Dunedin Consort - George Frideric Handel: Messiah (Dublin Version, 1742) Studio Masters
Posted By :
johhenrik
|
Date :
14 Dec 2009 02:40:14
|
Comments :
49
|
|
Dunedin Consort - George Frideric Handel: Messiah (Dublin Version, 1742)
FLAC 88.2KHz / 24Bit | Full Artwork | Stereo | 2.60GB | 2007
These are Studio Master files from Linn Records, so NO LOG and NO CUE. See www.linnrecords.com for more details.
| “ | A first-rate performance of Handel's Messiah in which the Dunedin Consort recreate the freshness, excitement and spontaneity of the work's first public performance in 1742. Unlike the thirty singers used in some later performances, this version features only twelve, of which seven are soloists, all performing in the choruses. | ” |
The Studio Master files are 88.2kHz / 24 bit.
Recorded at Greyfriars Kirk, Edinburgh, UK: 1-4 May 2006
Engineered by Philip Hobbs
Post-Production by Julia Thomas at Finesplice Ltd
Project Management: Caroline Dooley
Cover image: The Tribute Money, 1629 (oil on panel)
Performers
John Butt (conductor), Co-artistic Director
Susan Hamilton (soprano), Co-artistic Director
Nicholas Mulroy (tenor)
Matthew Brook (bass)
Annie Gill (mezzo soprano)
Clare Wilkinson (alto)
Heather Cairncross (alto)
Edward Caswell (bass)
About the recordWhy the Dublin version?
Choosing to perform Handel's Messiah in the version presented at its very first performances, in Dublin (13 April and 3 June, 1742), does not mean that we are presenting the work in its ‘best' or indeed in its entirely ‘original' form. Handel seems to have composed the oratorio with no specific performers in mind, so he was prepared to adapt it for each production in turn; indeed, around ten versions are discernible in all. He certainly made some revisions in Dublin for those singers who were not of the same calibre as he enjoyed in London, so there has sometimes been a tendency to view this first performing version as critically compromised by supposedly inadequate forces. Nevertheless, there is much to be gained from reconstructing the Dublin version (albeit something which cannot be done with total certainty) and, particularly, attempting to use roughly the same size of vocal forces and a similar apportionment of soloists. Some of Handel's cuts made during the preparations for the Dublin performances were clearly designed to enhance the flow of the piece; these were retained in subsequent performances and thus do not reflect the inadequacy of the first performers.
Other changes were positive reactions to the qualities of specific singers available in Dublin. Most significant here was Handel's decision to present one lyrical alto aria in each of the three parts to Mrs Susannah Cibber, sister of Thomas Arne. Cibber was best known as an outstanding actor, but had recently undergone the scandal of an extra-marital affair, the details of which had been described in court in astonishingly unambiguous detail. Her appearance in Dublin marked the beginning of her return to public life at a safe distance from London; although by no means expert as a singer, her performances brought a quality of expression that was clearly outstanding. The aria ‘He shall feed his flock' in Part 1, originally cast for soprano in Bb major, was therefore transposed down to F major to suit Mrs Cibber. The aria from Part 2 (‘He was despised and rejected' - and, as it happened, a particularly prescient text for the singer concerned) was already in the correct range and, in Part 3, Handel transposed the aria ‘If God be for us, who can be against us?' from G minor (soprano) to C minor, thus giving Mrs Cibber the final aria, conventionally reserved for the leading soloist.
The other major change is the replacement of the original version of the aria ‘How beautiful are the feet' (from Romans, as chosen by Charles Jennens, the compiler of the libretto) with a duet for two altos and chorus, setting the text beginning with the same line from Isaiah 52:7-9. Thus the opening musical material is very similar to the original but it thereafter departs entirely, with the chorus section ‘Break forth into joy'. This suggests that Handel was keen to adapt the work for the vocal forces available in Dublin, particularly the men of the two cathedral choirs, who were adept at singing in this ‘verse anthem' style.
While Handel had the services of a professional Italian soprano, Christina Maria Avoglio, the remainder of the soloists were drawn from the two cathedral choirs: two male altos shared out the remaining alto solos (Joseph Ward and William Lamb); the tenor arias and recitatives were taken by James Bailey, and John Mason and John Hill sang the bass solos (Hill apparently taking only ‘Why do the nations so furiously rage together?'). Mason and Lamb were former children of the Chapel Royal in London, and may well thus have encountered Handel before. In true cathedral fashion, all these soloists also formed the core of the chorus, so the work was not only given a broad spectrum of solo vocal colours but also a much more intimate and flexible chorus than many later performances (assuming a distinction between solo and choral forces) would lead us to expect. Another factor to consider is that Handel had used the music that was to constitute five of the Messiah choruses as Italian duets, a year or so before. To Handel, at least, these intimate but also intensely energetic and virtuoso duets would have been in his mind when he wrote and directed the first performances of Messiah.
The challenge then, in this recording, has been to try and recapture something of the freshness of the first public performances of Messiah, imagining what it was like to hear the work for the very first time when many moments must have been quite unexpected. By analysing the lists of adult singers in the two cathedral choirs and subtracting the number who were likely to have been ordained (and thus excluded from secular performances) Donald Burrows has suggested that the original chorus probably consisted of no more than three or four voices to a part. This certainly allows us to capitalise on the existing strengths of the Dunedin Consort, which comprises singers who are equally adept at solo, ensemble and choral singing. We have thus been able to apportion the solo areas in more or less exactly the way Handel did (although we have slightly altered the way in which the two ‘cathedral' altos are employed). We have also kept in mind the virtuoso origins of at least some of the choruses and the level of detail and expression that a smaller group of expert singers might be able to achieve.
The sequence of movements in the Dublin version also brings its own particular pacing: the alto versions of the final arias of Parts 1 and 3 create a more striking contrast between the increased mellow character of each aria and the respective final chorus. With the various cuts and abbreviations made towards the end of Part 2, there is, conversely, rather more momentum from the end of ‘How beautiful are the feet' towards the ‘Hallelujah' chorus. We have also borne in mind the division of each part into ‘scenes', which is provided in the libretto for the London performances of 1743. Handel would, in all likelihood, have paced his oratorios in much the same way as he did for his operas.
The Dublin orchestra, expertly led by Matthew Dubourg, comprised only strings, two trumpets and timpani, although the exact size is unknown. Handel had his own organ transported to Ireland, according to a letter discovered by Burrows, so this was presumably used in the Messiah performances, perhaps by the composer himself (it is mentioned specifically for the new version of ‘How beautiful are the feet'); we assume that the harpsichord was used much of the time too.
John Butt
Choosing to perform Handel's Messiah in the version presented at its very first performances, in Dublin (13 April and 3 June, 1742), does not mean that we are presenting the work in its ‘best' or indeed in its entirely ‘original' form. Handel seems to have composed the oratorio with no specific performers in mind, so he was prepared to adapt it for each production in turn; indeed, around ten versions are discernible in all. He certainly made some revisions in Dublin for those singers who were not of the same calibre as he enjoyed in London, so there has sometimes been a tendency to view this first performing version as critically compromised by supposedly inadequate forces. Nevertheless, there is much to be gained from reconstructing the Dublin version (albeit something which cannot be done with total certainty) and, particularly, attempting to use roughly the same size of vocal forces and a similar apportionment of soloists. Some of Handel's cuts made during the preparations for the Dublin performances were clearly designed to enhance the flow of the piece; these were retained in subsequent performances and thus do not reflect the inadequacy of the first performers.
Other changes were positive reactions to the qualities of specific singers available in Dublin. Most significant here was Handel's decision to present one lyrical alto aria in each of the three parts to Mrs Susannah Cibber, sister of Thomas Arne. Cibber was best known as an outstanding actor, but had recently undergone the scandal of an extra-marital affair, the details of which had been described in court in astonishingly unambiguous detail. Her appearance in Dublin marked the beginning of her return to public life at a safe distance from London; although by no means expert as a singer, her performances brought a quality of expression that was clearly outstanding. The aria ‘He shall feed his flock' in Part 1, originally cast for soprano in Bb major, was therefore transposed down to F major to suit Mrs Cibber. The aria from Part 2 (‘He was despised and rejected' - and, as it happened, a particularly prescient text for the singer concerned) was already in the correct range and, in Part 3, Handel transposed the aria ‘If God be for us, who can be against us?' from G minor (soprano) to C minor, thus giving Mrs Cibber the final aria, conventionally reserved for the leading soloist.
The other major change is the replacement of the original version of the aria ‘How beautiful are the feet' (from Romans, as chosen by Charles Jennens, the compiler of the libretto) with a duet for two altos and chorus, setting the text beginning with the same line from Isaiah 52:7-9. Thus the opening musical material is very similar to the original but it thereafter departs entirely, with the chorus section ‘Break forth into joy'. This suggests that Handel was keen to adapt the work for the vocal forces available in Dublin, particularly the men of the two cathedral choirs, who were adept at singing in this ‘verse anthem' style.
While Handel had the services of a professional Italian soprano, Christina Maria Avoglio, the remainder of the soloists were drawn from the two cathedral choirs: two male altos shared out the remaining alto solos (Joseph Ward and William Lamb); the tenor arias and recitatives were taken by James Bailey, and John Mason and John Hill sang the bass solos (Hill apparently taking only ‘Why do the nations so furiously rage together?'). Mason and Lamb were former children of the Chapel Royal in London, and may well thus have encountered Handel before. In true cathedral fashion, all these soloists also formed the core of the chorus, so the work was not only given a broad spectrum of solo vocal colours but also a much more intimate and flexible chorus than many later performances (assuming a distinction between solo and choral forces) would lead us to expect. Another factor to consider is that Handel had used the music that was to constitute five of the Messiah choruses as Italian duets, a year or so before. To Handel, at least, these intimate but also intensely energetic and virtuoso duets would have been in his mind when he wrote and directed the first performances of Messiah.
The challenge then, in this recording, has been to try and recapture something of the freshness of the first public performances of Messiah, imagining what it was like to hear the work for the very first time when many moments must have been quite unexpected. By analysing the lists of adult singers in the two cathedral choirs and subtracting the number who were likely to have been ordained (and thus excluded from secular performances) Donald Burrows has suggested that the original chorus probably consisted of no more than three or four voices to a part. This certainly allows us to capitalise on the existing strengths of the Dunedin Consort, which comprises singers who are equally adept at solo, ensemble and choral singing. We have thus been able to apportion the solo areas in more or less exactly the way Handel did (although we have slightly altered the way in which the two ‘cathedral' altos are employed). We have also kept in mind the virtuoso origins of at least some of the choruses and the level of detail and expression that a smaller group of expert singers might be able to achieve.
The sequence of movements in the Dublin version also brings its own particular pacing: the alto versions of the final arias of Parts 1 and 3 create a more striking contrast between the increased mellow character of each aria and the respective final chorus. With the various cuts and abbreviations made towards the end of Part 2, there is, conversely, rather more momentum from the end of ‘How beautiful are the feet' towards the ‘Hallelujah' chorus. We have also borne in mind the division of each part into ‘scenes', which is provided in the libretto for the London performances of 1743. Handel would, in all likelihood, have paced his oratorios in much the same way as he did for his operas.
The Dublin orchestra, expertly led by Matthew Dubourg, comprised only strings, two trumpets and timpani, although the exact size is unknown. Handel had his own organ transported to Ireland, according to a letter discovered by Burrows, so this was presumably used in the Messiah performances, perhaps by the composer himself (it is mentioned specifically for the new version of ‘How beautiful are the feet'); we assume that the harpsichord was used much of the time too.
John Butt
Reviews20 December 2006
Allmusic.com
Stephen Eddins
5 Stars
ALBUM OF THE DAY
This recording of the Messiah by the Dunedin Consort is based on a reconstruction of the original version premiered in Dublin in 1742. The Dublin version is rarely performed because the composer had simplified parts in deference to the vocal limitations of some of the local soloists, because it is not as complete as later versions of the score and because revisions Handel made after the first performance have become standard. This recording also seeks to duplicate the original performing forces as authentically as possible by having the soloists perform the choruses, as well, using a total of only 12 singers. The result is remarkably and refreshingly intimate. In spite of the modesty of scale, conductor John Butt leads a reading that never sounds small or limited; the performers convey the full extent of the work's wide emotional range. The size of the chorus allows for an unusually light touch in the movements requiring choral coloratura, and the Dunedin Consort responds nimbly. The soloists are all of the highest quality, with youthful-sounding voices more robust and less mannered than what one generally associates with the English oratorio tradition. Bass Matthew Brook's "But who may abide the Day of His Coming," is delivered with astonishing breath control and power. Nicholas Mulroy's virile tenor gives "Comfort ye," a welcome solidity. Contralto Clare Wilkinson sings "He shall feed His flock," with breathtaking poignancy, as intimately as a lullaby. Soprano Susan Hamilton sings "I know that my Redeemer liveth," with stunning simplicity and purity. Annie Gill's contralto is sweet and light in "O thou that tellest good tidings to Zion." All the soloists communicate with a naturalness and directness that create an unusually intense sense of drama; despite having disciplined and beautifully modulated voices, they sing as if they are telling a personal and deeply felt story, in the tradition of the best folk singers. The orchestra responds to Butt's leadership with a lively and well-balanced performance. The SACD recording is clear and present, and details emerge with the vivid characteristic of chamber music. In every aspect, this is one of the most compelling and engaging Messiahs on disc.
01 December 2006
Gramophone Magazine
David Vickers
For an infinitely more rewarding fresh look at Handel's most familiar music, look no further than the Dunedin Consort's performance of Handel's first version, premiered at Dublin in 1742. Bizarrely under-represented in concert and on disc, the Dublin score contains some fascinating music that Handel never reused, such as the substantial chorus 'Break forth into joy'. The exuberant direction by harpsichordist John Butt is meticulously stylish and utterly devoid of crassly pretentious egotism. The playing is unerringly spontaneous and dramatically integrated with singers who illustrate profound appreciation of text. Clare Wilkinson's 'He was despised' is most moving, Susan Hamilton effortlessly skips through a delicious 'Rejoice greatly', and bass Matthew Brook sings as if his life depends on it.
Butt bravely resolves to use the same forces Handel had at his disposal in Dublin, which means that the entire oratorio is sung by a dozen singers (with all soloists required to participate in the choruses, as Handel would have expected). Where this approach might risk worthy dull solos churned out by stalwart choir members, the Dunedin Consort's exemplary singers produce virtuoso choruses that are theatrically charged, splendidly poised and exquisitely blended. Old warhorses 'For unto us a child is born' and 'Surely he hath borne our griefs' are delightfully inspiring. Butt and the Dunedin Consort marry astute scholarship to sincere artistic expression and the result is comfortably the freshest, most natural, revelatory and transparently joyful Messiah I have heard for a very long time.
01 December 2006
BBC Music Magazine
Nicholas Anderton
4 Stars
The Dunedin artists are stylish, fresh sounding in their choral singing and often more intimate than other versions in their manner of communication. Susan Hamilton's solo contributions are outstanding. This is a softly spoken recording, further underlined by Handel's restrained scoring for strings, trumpet and drums.
Performance * * * * / Sound * * * *
Track Listing01 - Sinfonia.flac
02 - Recit Comfort ye.flac
03 - Air Every valley shall be exalted.flac
04 - Chorus And the Glory of the Lord.flac
05 - Recit Thus saith the Lord.flac
06 - Air But who may abide.flac
07 - Chorus And he shall purify.flac
08 - Recit Behold a virgin shall conceive.flac
09 - Air O thou that tellest good tidings.flac
10 - Chorus O thou that tellest good tidings.flac
11 - Recit For behold.flac
12 - Air The people that walked in darkness.flac
13 - Chorus For unto us a child is born.flac
14 - Pifa Pastoral Symphony.flac
15 - Recit There were shepherds.flac
16 - Recit And lo.flac
17 - Recit And the angel said unto them.flac
18 - Recit And suddenly.flac
19 - Chorus Glory to God.flac
20 - Air Rejoice greatly.flac
21 - Recit Then shall the eyes of the blind.flac
22 - Air He shall feed his flock.flac
23 - Chorus His yoke is easy.flac
24 - Chorus Behold the lamb of God.flac
25 - Air He was despised.flac
26 - Chorus Surely.flac
27 - and with his stripes.flac
28 - Chorus All we like sheep.flac
29 - Recit But Who may abide.flac
30 - Recit accomp All they that see him.flac
31 - Chorus He trusted in God.flac
32 - Recit accomp Thy rebuke.flac
33 - Air Behold and see.flac
34 - Recit accomp He was cut off.flac
35 - Air But thou didst not leave.flac
36 - Chorus Lift up your heads.flac
37 - Recit Unto which of the angels.flac
38 - Chorus Let all the angels.flac
39 - Air Thou art gone up.flac
40 - Chorus The Lord gave the word.flac
41 - Soli Chorus How beautiful are the feet.flac
42 - Air Why do the nations.flac
43 - Chorus Let us break.flac
44 - Recit He that dwelleth.flac
45 - Chorus Hallelujah.flac
46 - Air I know that my redeemer liveth.flac
47 - Soli Chorus Since by man.flac
48 - Recit Accomp Behold I tell you a mystery.flac
49 - Air The trumpet shall sound.flac
50 - Recit Then shall be brought.flac
51 - Duet O death where is thy sting.flac
52 - Chorus But thanks.flac
53 - Air If God be for us.flac
54 - Chorus Worthy is the lamb.flac
55 - Chorus Amen.flac
56 - Recit He that dwelleth in Heaven shall laugh them to scorn.flac
57 - Air Thou shalt break them with a rod of iron.flac
About Linn RecordsPart of Linn Products Ltd, world leaders in sound reproduction equipment, Linn Records was formed in 1983.
While Linn engineers were testing their flagship product, the Sondek LP12 turntable, they became frustrated with the poor quality of some of the specialist test LPs they were using. The measurements were swamped by record imperfections. Better test discs were needed so work began on an LP cutting lathe as a research product to improve testing for the LP12.
The first albums to be cut and subsequently released were Carol Kidd's debut album and A Walk Across the Rooftops by the Blue Nile. Thus Linn Records was born...
Today the label is one of the world's leading audiophile labels specialising in classical, jazz and Celtic music. We reproduce our music on CD (or SACD), Vinyl and now as high quality Downloads.
We exist to introduce the broadest range of involving musical experiences to a worldwide audience of discriminating individuals who are on a personal quest of musical ecstasy and enlightenment. The beautiful compositions and artistic performances are perfectly captured by our expert engineers on recordings of unprecedented truth.
There is a whole world of Linn music to explore. The high quality sound reproduction that results from our investment of time and effort means that as a listener you can simply hear more, and hear it more clearly. It can sound uncannily like the musicians are in the room with you. As the true qualities of the music are more audible, music that you never thought would move you starts to make sense, and its seductive power can be tremendous. Please have a listen to our music and judge for yourselves. Sound clips are available on all the album pages.
We believe music is essential for human well-being and the better it is reproduced the more benefit it delivers. Because of this we record our music to the highest specification. This means that great care is taken in recording sessions and in the manufacturing process to ensure that the atmosphere and integrity of the musical performance is maintained.
Our people all have a love of music and pay high attention to detail. Find out about the key personnel and read an interview with one of our top sound engineers.
We pride ourselves in looking after you and aim to provide an excellent service. We treat your details with confidentiality, we do not pass on or sell your details to other companies and we have put security certificates in place to protect your payment details.
We are a small team based in the countryside just South of Glasgow in Scotland.
Linn Records is a subsidiary company of Linn Products - an independent company specialising in precision engineered sound and vision. Linn Products was founded in 1972 by Ivor Tiefenbrun to produce the Linn Sondek record player, which is still in production. Today, Linn designs and manufactures an extensive range of original products, renowned for their performance, and sold around the world. Systems range from £1000 to £1m.
Download Links
http://rapidshare.com/files/320078903/dunmess.r00
http://rapidshare.com/files/320079499/dunmess.r01
http://rapidshare.com/files/320079199/dunmess.r02
http://rapidshare.com/files/320080286/dunmess.r03
http://rapidshare.com/files/320080868/dunmess.r04
http://rapidshare.com/files/320080972/dunmess.r05
http://rapidshare.com/files/320080944/dunmess.r06
http://rapidshare.com/files/320097608/dunmess.r07
http://rapidshare.com/files/320097584/dunmess.r08
http://rapidshare.com/files/320097532/dunmess.r09
http://rapidshare.com/files/320097631/dunmess.r10
http://rapidshare.com/files/320098338/dunmess.r11
http://rapidshare.com/files/320098159/dunmess.r12
http://rapidshare.com/files/320081490/dunmess.rar
Artwork
http://rapidshare.com/files/320655969/messart.rar
Passwordjohhenrik
CD version available here: http://avaxhome.ws/music/classical/baroque/Handel_Messiah_Dunedin_Consort.html
| ADVERTISING » | High Speed Download | « ADVERTISING |
Recent searches:
In the future, will you be offering up the studio quality files for Handel's Acis and Galatea from Dunedin on Linn Records? That is the best performance of that opera by far. If not, I'm still very grateful for this and the Bach, and of course, your work with Kel Bazar on getting the Beatles to us. Thank you very much!
Burn them to DVD? ... to multple CDs?
I apologize for the same question I posted in the previous upload of "The Passion" but I have an excellent DVD-Audio player and really want to get the most from this music.
On the burning question (no pun intended); does anyone know how to avoid the very small hiccups between contiguous tracks with DVD-Audio Solo? Even with no pictures and "optimize for gap-less playback" selected there are ever so slight but audible miscues between seamless tracks that are not there when the tracks are played on the computer.
I have used Audio-DVD Creator with better results and am wondering if there is any advantage to the "true" DVD-Audio format of the Cirlinca DVD-Audio product.
Thanks for any help on this from anyone familiar with either or both of these software programs.
BTW: are here some advices on good DVD-Audio players?
Thank you in advance.
I usually use a silent PC + E-MU 0404 USB external sound card (up to 24-bits / 192kHz) + a good amplifier + decent loudspeakers (upgrade planned).
<<BTW: are here some advices on good DVD-Audio players?
Thank you in advance.
I usually use a silent PC + E-MU 0404 USB external sound card (up to 24-bits / 192kHz) + a good amplifier + decent loudspeakers (upgrade planned). >>
Best way to listen is a Linn DS (Digital Streamer) or a Logitech Squeezybox or Transporter.
USB = jitter. Linn or Logitech Digital stremers use TCP/IP and so quality is as good as the DAC can be.
A brave new world!!! :)
Thank you for two outstanding share efforts, I look forward to more if you have them!
@Hellenback
As I mentioned under the Linn SMP post, I too am having the same problem with slight yet audible "hiccups" between contiguous tracks with a DVD-A burned with DVD-Audio Solo, also optimized for gapless playback, despite not being present on PC playback. I've used DVD-Audio Solo for a number of similar burns of music with contiguous tracks, but this and the "Passion" post is the first time I've had the problem. I have a high-end Denon as well as an Oppo player, and neither have had problems with DVD-Audio in the past.
Muchas gracias !!!
See my comment under the St. Matthew Passion posting regarding a possible solution to your track "hiccups:)"
@d'Avignon - I don't have DVD-Audio solo or Discwelder but I DO have Audio DVD Creator and have a question. During the creation of the audio DVD, under Audio Format did you select PCM with 96/24 options, or AC3 and 2-channel plus 192 kbps (or some other option)? I assume PCM at 96/24 will give me the best quality, but I've only used the program a few times. Thanks, looking forward to hearing this on my audio system!
the AC3 +192 will reduce it to lossy quality.
Further, I must say this is the very first classical music I hear that most distinctly benefits from the higher resolution. Some are only a little bit better than standard 16/44, most show no difference at all and sound exactly the same...
..but this one...whoah!
If Tallis's Spem in Alium with its 40-part choruses is ever recorded in hi-res we'll all be rocketed into Deep Space
@d'Avignon or anyone else who burn hi-res to dvd: I have both Audio DVD Creator and Discwelder Chrome. The former burns an Audio DVD while Discwelder creates DVD-Audio. Can anyone tell me if there is a significant improvement in the DVD-Audio? My DVD player can play DVD-A and I have an excellent audio setup, but Audio DVD Creator seems like such a more elegant and easier solution.
I agree, d'Avignon, if "Speum in Alium" is ever presented in hi-resolution audio, I will die a happy man while being rocketed into Space :-))
I'm listening to the burned DVD now, and this is very similar to aksman's best rips: you can hear the multi-layered aspect of the music, the several vocal and choral parts floating in the air like rice field plateaux. You can almost see them. Amazing! Its every sound is clearly pronouned, nowhere does it become fuzzy, like so often happens in classical music recordings
Hellenback: In Solo, first press the "DVD" button on your far right. On the top on that screen you've got two tabs, write and disc. Choose the disc tab. Tick in "Optimize for gapless inter-track". Voilá!
You better prepare them space suites then, because I have Spem in Alium in 96/24 Studio Master lined up to upload here. :)
Sorry, but Hellenback clearly stated that she pressed "optimize for gap-less playback" in her post, as I also did. But the overlapping track glitches still occur. Thanks for the tip, though, your heart is in the right place :)
O-oh...I cannot believe it. As if you read our minds.
Give me some time to buy seat belts
@carlosroberto
There you have it. Be careful what you wish for. I bet you hadn't expected you'd have an opportunity to die happily that soon (smile).
Same here. You're a sainted man, bless you!! It doesn't get any better than this!!!!!!!!!!!!
Another way to enjoy this "Studio Master" is to do it in this manner:
Computer --> D.A.C (Via USB/FireWire: i.e Apogee Mini-Dac) --> Active Studio Monitors Spakers (Does not require Amps to drive self powered) (i.e Yamaha HS80M/Adam A7/Genelec 8030/Mackie HR824)
Links:
http://www.apogeedigital.com/products/mini-dac.php
http://www.mackie.com/products/hrmk2series/
http://www.adam-audio.com/en/pro-audio/products/a7/description
http://www.genelec.com/products/2-way-monitors/8030a/
http://www.yamaha.com/yamahavgn/CDA/ContentDetail/ModelSeriesDetail.html?CNTID=49338&CTID=560744
This is the shortest D-A signal path to enjoy the music, hope my advice is useful =)
Even more careless than you thought, dear, because Hellenback and I were talking about the "hiccup" problems when using DVD-Audio Solo, NOT Discwelder. Several others mentioned using Discwelder to burn DVD-As from the Linn Studio Masters, but I don't have it nor do I need another such program.
What actually worked for me was converting the FLAC files to Waves, as someone suggested, then burning them with DVD-Audio Solo. That seemed to work, because a casual listen-through of my burn produced hiccup-free listening ')
Thanks for the tips to you and others!
@TamikaApril
"What actually worked for me was converting the FLAC files to Waves, as someone suggested, then burning them with DVD-Audio Solo. That seemed to work, because a casual listen-through of my burn produced hiccup-free listening ')"
I was just going to try this (convert to wav first) and thought I would check back to see if anyone had found a solution! Looks like it might be the answer. I'll report my results so others might benefit. (DiscWelder being $3,000 would make it ridiculous to even bother with as I would rather just buy $3000 worth of original DVD-A discs!)
@Hellenback - you should get the desired results with DVD-Audio Solo by converting to wavs because the program may have difficulty with hi-res flacs containing non-conventional bitrates. Discwelder is definitely overkill for burning DVD-Audio stereo files...it's more suited to multi-channel authoring. An other solution is what d'Avignon did by using Audio DVD Creator to burn a music DVD (as opposed to DVD-Audio) that's DVD-video compliant, not requiring a DVD-Audio-capable player. Both sounded equally outstanding when I burned the Messiah to each format. The only caveat is that the resulting video DVD comes in at over 4.5GB which creates havoc if you try overburning to DVD-5; you'll have to split it between two discs or burn to a dual-layer dvd.
Cheers!
I have used Audio DVD creator successfully in the past. I was just thinking that keeping these files in their native 24/88.2 might have some benefit over up-sampling to 24/96 Video-DVD, which is the only option with Audio DVD Creator. I'm trying the Passion with Solo but it comes in at 20MB over the DVD-5 limit ;( Guess I need to figure out where to best split it and use two discs.
Yes, I used one dvd+r for each disc, resp. 54 & 48% of the dvd+r's capacity was used. Wasted space? Not for this.
@Hellenback: I suspect the up-sampling makes no difference. Occasionally I burn ordinary cds using DVD-creator too, which means the files are up-sampled to 48 automatically. Quality remains the same
@Hellenback - I wouldn't worry about the upsampling, but try burning the extracted wave files with DVD-Audio Solo. It accommodates the exact bitrate, thus fitting on a single DVD-5.
@d'Avignon
Yes, I used one dvd+r for each disc, resp. 54 & 48% of the dvd+r's capacity was used. Wasted space? Not for this.
Same here on the 2 discs. I wasn't going to worry about using 2 on music like this!
I like the break that's put in the 2CD release anyway, so I followed it exactly.
It might be partly placebo, but I have never heard a better sounding recording. This is music for the ages in a format that does it justice. WOW....listening on Senn HD650s (with a headphone amp) from a Pioneer DV-58AV is bliss. The sense of space and definition of instruments is unparalleled. I'm so happy I stuck with this until I got it right.
Thank you johhenrik, many times over (and Merry Christmas to you and all here).
PS. Someone here was asking about a good DVD-Audio player. I recommend the Pioneer 58AV. It's selling (if you can still find them) for 60% of it's original list. Although an SD-DVD player, it has HDMI out for hi-def audio and up-converted video (to a capable receiver) and the best sound from it's RCA line out that I've heard from a universal player. Redbook CDs even sound good and that's something on a universal. Just as an audio player it's worth the $350 I paid for it. I've heard some of the older Denon players (2900 @ $1200 new) and a 2005-6 Pioneer (79avi @ $1000 new) and to my ears, this player sounds every bit as good (and better).
on 44.1/16 discs). If you can find one, grab it.
@Hellenback
There are a number of excellent dvd players out there, but universal players that are standouts in every audio & video category from Oppo are exceptional and without peer, and for a fraction of the price of more expensive players that don't deliver Oppo's features and performance. Their players are the gold standard of video upconversions (region-free plus PAL & NTSC compatibility) as well as extracting the best of every audio format you throw at it, from redbook to SACD to dvd-a. They've discontinued their non-blu ray players, but all are floating around ebay and such. For those not familiar with Oppo (!) a quick search will take you to their website. Each of their units is a revelation.
Merry Christmas to one and all!
@streetUrchin
Their players are the gold standard of video upconversions (region-free plus PAL & NTSC compatibility) as well as extracting the best of every audio format you throw at it, from redbook to SACD to dvd-a.
The Oppos may very well be the gold standard in video, but this is the music section and someone asked about a good DVD-AUDIO player.
I have heard the Oppo 980H and read reviews on all their players. A quick perusal of the internet will show that most who have heard both prefer the sound of the The Pioneer DV58AV through analog outs, especially on hi-res music (which is what we are discussing here). Unless one has (or wants to buy) a new (expensive) high end HDMI receiver to do the processing, with as good or better DAC chips than the Burr-Brown PCM1798 (Pio 58av), IMHO you will not get audio as good, let alone better. As good as it's video is, I have to say I find the Oppo's audio to be much over-hyped. To be fair, the audio is good for what they cost.
The BD-83SE is a whole different animal that utilizes ESS Sabre DACs. This takes its analog audio performance to a whole other level. Early reviews are in, and they're all raves. I had a sneak-peak at a review Absolute Sound is preparing and they compare its analog audio section to a $6,000 Musical Fidelity player. Is the 83SE worth $900? It all depends on how good your sound system is.
I only mentioned the Pioneer because for around $300(US) I don't think it can be beat.
I hadn't heard of Oppo's new Sabre DAC equipped BluRay model. It certainly sounds like a winner, even at $900 US. As mentioned, I have no argument with Oppo's video supremacy. Wish I had the cash!
@all "audiophiles" discussing DVD-players on this forum, I have a question being a total novice in this area:
We (my SO and I) have an Oppo DV-983H that is used not only for its incredible ability to transform SD movies into HD quality, but also for playing hi-res dvd-audio, very much like the ones posted here.
We have a dual system, i.e., a very good 5-speaker surround setup powered by a Marantz SR-8000 receiver that the Oppo plugs into via HDMI. Additionally, we have a separate stereo system with Krell speakers, a Bryston 100-watt/ch. integrated amplifier and a Cambridge CD player for our dedicated music system. Right now, our Oppo connects to the Bryston via analogue stereo cables for music, and HDMI to the Marantz for cinema. I've read about the (relative) shortcomings of the Oppo's DAC. So to improve on this, would it be beneficial to connect the RCA audio output of the Martantz receiver (connected to Oppo via HDMI) to our integrated amplifier to achieve better sound? The logic being that the Marantz probably has much better DAC resolution than the Oppo. Or would this negate the hi-res being processed by the receiver? Or make no difference at all because it would be a mere pass-through?
I hope I've made this clear and you don't think I'm a silly goose for getting involved with these arcane matters:)
Looking forward to any clue someone can provide. I've searched the internet and haven't come up with a clear-cut solution. Best to all!
You'll probably get discernibly better audio on your dedicated stereo system by keeping your Oppo HDMI-connected to the receiver, as the Marantz can process digital to analog much better than the Oppo's DAC, and go from the receiver's front/mixed analog output to your Bryston (sweet piece of gear!) amplifier. You should hear smoother, more detailed sound and better bass with hi-res DVD-audio and SACD.
The only downside is that you'll have to reconfigure the Oppo's audio setup for stereo down-mix and front speaker only -- switch off the surround speakers and bass -- every time you want to use it as a dedicated stereo/hi-res player. Then return to your normal multi-channel setup when you watch videos. If you're comfortable with this back & forth switching, you'll have the best of both worlds without having to purchase another player. Good luck!
Thanks so much for your very helpful tip. After we changed the audio options on the Oppo DV983, per your advice, and settled in to listen to the Studio Masters plus a few other DVD-audio selections (we were up until 2am!), the sound was simply wonderful; fuller, richer and spot on detail. Our Krell Resolution 1 speakers brought out the most startling realism from these recordings we've ever heard. I don't know if it gets any better than this.:)
I'm truly grateful for your advice and of course many thanks again to johhenrik for these recordings!