Antonio Meneses - J.S. Bach: The 6 Cello Suites (2004) 2CDs
Antonio Meneses - Johann Sebastian Bach: The 6 Cello Suites (2004) 2CDs
EAC | FLAC | Image (Cue&Log) ~ 592 Mb | Mp3 (CBR320) ~ 302 Mb | Artwork included
Genre: Classical | Label: Avie | # AV 0052 | Time: 02:08:44
EAC | FLAC | Image (Cue&Log) ~ 592 Mb | Mp3 (CBR320) ~ 302 Mb | Artwork included
Genre: Classical | Label: Avie | # AV 0052 | Time: 02:08:44
Brazilian cellist Antonio Meneses, a member of the Beaux Arts Trio and a frequent collaborator of the world’s greatest conductors and orchestras, takes a solo turn with the most noble of works for his instrument, J S Bach’s Six Cello Suites.
A consummate master of his instrument, Antonio started playing the cello when he was 10 years old. At the age of 16 his musical studies took him to Europe, and in 1982 he won the Gold Medal at the Tchaikovsky Competition in Moscow. He has performed with the Berlin Philharmonic, London Symphony Orchestra, Royal Concertgebouw Orchestra and New York Philharmonic, among others, with such conductors as Karajan, Abbado, Rostropovich, Muti and Chailly. In the recording studio he famously collaborated with Karajan and the Berlin Philharmonic in Brahms’ Double Concerto for Violin and Cello (with Anne-Sophie Mutter), and Strauss’ Don Quixote.
Playing a Jean-Baptiste Vuillaumme cello from Paris c.1840, Antonio’s renditions of Bach’s seminal works are marked by purity and grace, introspection and sophistication.
While some of the 50-odd recordings of these suites test technique to destruction, and others suggest cellists striving to impose their own distinctive mark, Antonio Meneses is master of his instrument and defers modestly to Bach. The Prelude of No. 6, written for five-string cello, is more effortless in the stratospheric heights of his A string than many cellists favoured with the additional string a fifth higher. His rhythmic instinct is exemplary. He sustains a constant tempo between the paired minuets, bourrées and gavottes; the final gigue, where lesser cellists create a seven-in-a-bar ‘dance macabre’ as they strive to bow across first-beat chords, is rock steady. Even the languid sixth Allemande still conjures up slow-motion ghosts of courtly dancers, while lifted first beats light-footedly impel livelier dances. Meneses communicates the joy of the music rather than the challenge to the cellist. His straightforward, no-nonsense interpretation allows Bach to speak for himself. In the Prelude of No. 5, crisp up-beats convey the nervous spirit of its French-overture model but without fierce over-dotting, and the following fugue sustains the tempo. The Prelude of No. 3, boldly gestural, has no hint of pomposity. Meneses’s cello (and, presumably, his bow) belong to the 19th-century tradition. Yet he’s fully in tune with Baroque conventions – in interpreting Bach’s ornaments and adding a few discreet ones of his own – and he largely adheres to the (somewhat haphazard) bowing marks of Bach’s copyist, his wife Anna Magdalena. The sound is intimate, emphasising the contrast between ‘dry’ cello keys and those with ringing open strings, E flat/ C minor (Suite No. 4), for instance. Though I can’t forgive one missing repeat (Bach wrote it, so it should be played), this unassuming, ‘non-period’ recording finally topples Jaap ter Linden (Harmonia Mundi), my long-standing previous benchmark.Review by George Pratt, BBC Music Magazine
Performance: 5/5 Sound: 5/5
RECORDING OF THE MONTH
Magazines or websites which review CDs are, I suspect, most commonly read by would-be purchasers interested in acquiring the ‘best’ recording of a piece, or the one which represents ‘best’ value for money. But - sorry, my question is a cliché! - what constitutes ‘best’? And who is best qualified to say so? Why take my recommendation of a ‘best’ recording of the Bach Cello Suites, against the obviously more trustworthy word of Starker, Fournier, Tortelier, Schiff, Harrell, Kirshbaum, Gendron, Wispelwey or Ma? Which of these (including me!) has thought longest and hardest about this music?
I ask this question because, with this impressive new issue, we’re presented with yet another high-ranking recording of this timeless repertory, and comparisons with others are once more the order of the day. But comparisons, even evaluative comparisons, don’t have to result in some sort of batting order; that would be an irksome and ultimately pointless task, given the range of conflicting criteria we necessarily adopt in order to ‘assess’ different versions. Better accept that players and reviewers too have different yardsticks, and often come to different but equally defensible conclusions. Especially in repertory such as this, ‘truth’ (whatever that is) is far from absolute.
We can’t even satisfactorily pigeon-hole players according to ‘school’ - say, old-school with modern instrument on the one hand; ‘authentic’ (how I hate that word!) with period instrument on the other. For example, both Casals and Bylsma, poles apart in terms of their playing styles, each adopts a free approach to tempi, dynamics, tone and phrasing: and each exhibits a deeply personal expressive rubato. On the other hand, Rostropovich (an old-timer?) and Jaap Ter Linden (a baroque specialist?) tend to be more objective, more universal, without obvious expressive indulgence, clearly wanting their playing to be a statement on behalf of the composer rather than themselves. Okay, these are oversimplifications: and I’m sure that both Casals and Bylsma share the same ultimate goal of illuminating Bach - and only Bach!
Of course anyone keen to duplicate key pieces such as the Bach Cello Suites in their CD collection will usually want contrasting performances: performances which, in one way or another, represent different stylistic approaches - as with a subject being photographed from opposite angles, or in different lights. But a collector who is content with a single CD is more likely to be looking for a safe, middle-of-the-road and hopefully ‘definitive’ performance, rather than anything obviously wayward or untypical.
All this is a prelude to considering Meneses, who occupies the middle ground between interpretative extremities. I need to be careful here: adjectives used to describe such performances often imply blandness or monotony - as with a landscape which, however beautiful, lacks easily-distinguishable features. In truth, these readings are anything but bland or monotonous - Meneses speaks with the voice of reason, wisdom and maturity: he won’t provoke you, nor will he disturb you!
First things first. Meneses, his 1840 Jean-Baptiste Vuillaumme cello, the East Woodhay recording location and Simon Fox-Gál (the Avie producer, engineer and editor) combine to produce a truly beautiful and completely believable sound. I feel as though, on my dozen traversals of this set over these past few days, Meneses has been playing specially for me: as though I am his private audience. True, you can hear his every sniff (not too many of these, though, so don’t worry) but you can also hear the subtlest musical detail. The lower strings resonate with a wonderful depth and weight: high fidelity indeed!
Seemingly never wanting to be either sidetracked or overly subjective, his tempi tend to be brisk. But a great performer can always shape music without having to create room in order to do so: here, phrases breathe and unfold with a truly vocal conviction. And, in those pieces which encourage expressive extravagance, Meneses resists temptation: and, in so doing, knowing the difference between understatement and overstatement only too well, he simply underlines the point he is trying to make. So, the opening Prelude of the G major may lack the organ-like sustained ‘chords’ implied by its multi-string voicing: but, with more detached bowing than is customary, he allows it to speak to us intimately, to be monodic rather than polyphonic, implied rather than overt. And the great D minor Sarabande is sung with magisterial restraint: no Mahlerian self-indulgence or youthful excesses here! And yet Bach’s Bourrées and Gigues have all the dance-like energy, character and dashing momentum one could possibly want.
His playing is impressively accurate. Something we can surely take for granted, you’re probably saying to yourself. Not so! Such are the technical demands of this music, it’s not uncommon to find minor imperfections in intonation, or phrase highpoints where tonal purity is temporarily lost through some momentary excess. Not here! Only in the high-lying tessitura of the D major Suite written for a five-string instrument, but played here - as usual, even these days - on a standard four-string instrument does Meneses ever make you think he’s getting near the edge.
Like a peace-maker between rival factions, Meneses plays as if inspired, as if motivated by something bigger than all of us. He brings together a lifetime’s experience of playing and reflecting on this sublime music, and incorporating all the richness and expressive freedom of the ‘old school’ with the more cerebral, intellectually-illuminated thinking of today’s so-called ‘specialists’. These are enduring performances, which you can live with comfortably. A truly wonderful thing, it deserves the strongest recommendation: buy it, be it your 1st recording, or your nth.Review by Peter J Lawson, MusicWeb-International.com
Antonio Meneses - J.S. Bach: The 6 Cello Suites (2004) 2CDs
Antonio Meneses - J.S. Bach: The 6 Cello Suites (2004) 2CDs
recorded in St Martin’s Church, East Woodhay, Berkshire, 2-5 June 2004
Tracklist:
CD1:
Suite No 1 in G major, BWV1007
01. I. Prelude (2:19)
02. II. Allemande (3:39)
03. III. Courante (2:37)
04. IV. Sarabande (2:53)
05. V. Menuet 1 & 2 (3:19)
06. VI. Gigue (1:46)
Suite No 2 in D minor, BWV1008
07. I. Prelude (3:34)
08. II. Allemande (2:55)
09. III. Courante (2:02)
10. IV. Sarabande (4:23)
11. V. Menuet 1 and 2 (3:06)
12. VI. Gigue (2:37)
Suite No 3 in C major, BWV1009
13. I. Prelude (3:10)
14. II. Allemande (3:34)
15. III. Courante (3:01)
16. IV. Sarabande (4:16)
17. V. Bouree 1 & 2 (3:06)
18. VI. Gigue (3:30)
CD2:
Suite No 4 in E flat major, BWV1010
01. I. Prelude (3:54)
02. II. Allemande (3:44)
03. III. Courante (3:19)
04. IV. Sarabande (4:15)
05. V. Bourree I & II (4:51)
06. VI. Gigue (2:42)
Suite No 5 in C minor, BWV1011
07. I. Prelude (6:02)
08. II. Allemande (5:00)
09. III. Courante (2:08)
10. IV. Sarabande (3:26)
11. V. Gavotte I & II (4:22)
12. VI. Gigue (2:15)
Suite No 6 in D major, BWV1012
13. I. Prelude (4:24)
14. II. Allemande (7:04)
15. III. Courante (3:37)
16. IV. Sarabande (4:06)
17. V. Gavotte I & II (3:46)
18. VI. Gigue (4:02)
Exact Audio Copy V1.0 beta 1 from 15. November 2010
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Antonio Meneses / J.S. BACH: 6 Suites [CD1.2]
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11 61,3 [9EBD7EF2] [9A8975E8]
12 96,6 [85D381BB] [5E1ED445]
13 87,7 [D5F09408] [102B0361]
14 85,5 [6E825C73] [CFD662B3]
15 59,4 [BC90E7F9] [CBCE0CBA]
16 66,2 [FF50FA41] [B26B6273]
17 60,1 [1E395C2C] [5EB263FA]
18 96,6 [44D628AD] [DCA7290C]
foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-09-22 20:25:00
––––––––––––––––––––––––––––––––––––––––
Analyzed: Antonio Meneses / J.S. BACH: 6 Suites [CD1.2]
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -1.05 dB -16.65 dB 2:19 01-Suite 1, BWV 1007, Sol Major, I. Prelude
DR12 -3.80 dB -19.67 dB 3:39 02-Suite 1, BWV 1007, Sol Major, II. Allemande
DR13 -3.04 dB -18.67 dB 2:37 03-Suite 1, BWV 1007, Sol Major, III. Courante
DR12 -1.63 dB -20.90 dB 2:53 04-Suite 1, BWV 1007, Sol Major, IV. Sarabande
DR12 -3.95 dB -19.90 dB 3:19 05-Suite 1, BWV 1007, Sol Major, V. Menuet 1 & 2
DR12 -1.35 dB -17.81 dB 1:46 06-Suite 1, BWV 1007, Sol Major, VI. Gigue
DR12 -0.30 dB -17.73 dB 3:34 07-Suite 2, BWV 1008, Re minor, I. Prelude
DR13 -1.95 dB -18.00 dB 2:55 08-Suite 2, BWV 1008, Re minor, II. Allemande
DR12 -1.32 dB -17.83 dB 2:02 09-Suite 2, BWV 1008, Re minor, III. Courante
DR14 -1.67 dB -20.68 dB 4:23 10-Suite 2, BWV 1008, Re minor, IV. Sarabande
DR12 -4.25 dB -20.28 dB 3:06 11-Suite 2, BWV 1008, Re minor, V. Menuet 1 and 2
DR14 -0.30 dB -17.36 dB 2:37 12-Suite 2, BWV 1008, Re minor, VI. Gigue
DR11 -1.14 dB -17.12 dB 3:10 13-Suite 3, BWV 1009, Do Major, I. Prelude
DR13 -1.35 dB -18.08 dB 3:34 14-Suite 3, BWV 1009, Do Major, II. Allemande
DR12 -4.52 dB -18.75 dB 3:01 15-Suite 3, BWV 1009, Do Major, III. Courante
DR13 -3.57 dB -21.77 dB 4:16 16-Suite 3, BWV 1009, Do Major, IV. Sarabande
DR12 -4.42 dB -19.56 dB 3:06 17-Suite 3, BWV 1009, Do Major, V. Bouree 1 & 2
DR12 -0.30 dB -16.56 dB 3:30 18-Suite 3, BWV 1009, Do Major, VI. Gigue
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 18
Official DR value: DR12
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 632 kbps
Codec: FLAC
================================================================================
log date: 2017-09-22 20:25:00
––––––––––––––––––––––––––––––––––––––––
Analyzed: Antonio Meneses / J.S. BACH: 6 Suites [CD1.2]
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -1.05 dB -16.65 dB 2:19 01-Suite 1, BWV 1007, Sol Major, I. Prelude
DR12 -3.80 dB -19.67 dB 3:39 02-Suite 1, BWV 1007, Sol Major, II. Allemande
DR13 -3.04 dB -18.67 dB 2:37 03-Suite 1, BWV 1007, Sol Major, III. Courante
DR12 -1.63 dB -20.90 dB 2:53 04-Suite 1, BWV 1007, Sol Major, IV. Sarabande
DR12 -3.95 dB -19.90 dB 3:19 05-Suite 1, BWV 1007, Sol Major, V. Menuet 1 & 2
DR12 -1.35 dB -17.81 dB 1:46 06-Suite 1, BWV 1007, Sol Major, VI. Gigue
DR12 -0.30 dB -17.73 dB 3:34 07-Suite 2, BWV 1008, Re minor, I. Prelude
DR13 -1.95 dB -18.00 dB 2:55 08-Suite 2, BWV 1008, Re minor, II. Allemande
DR12 -1.32 dB -17.83 dB 2:02 09-Suite 2, BWV 1008, Re minor, III. Courante
DR14 -1.67 dB -20.68 dB 4:23 10-Suite 2, BWV 1008, Re minor, IV. Sarabande
DR12 -4.25 dB -20.28 dB 3:06 11-Suite 2, BWV 1008, Re minor, V. Menuet 1 and 2
DR14 -0.30 dB -17.36 dB 2:37 12-Suite 2, BWV 1008, Re minor, VI. Gigue
DR11 -1.14 dB -17.12 dB 3:10 13-Suite 3, BWV 1009, Do Major, I. Prelude
DR13 -1.35 dB -18.08 dB 3:34 14-Suite 3, BWV 1009, Do Major, II. Allemande
DR12 -4.52 dB -18.75 dB 3:01 15-Suite 3, BWV 1009, Do Major, III. Courante
DR13 -3.57 dB -21.77 dB 4:16 16-Suite 3, BWV 1009, Do Major, IV. Sarabande
DR12 -4.42 dB -19.56 dB 3:06 17-Suite 3, BWV 1009, Do Major, V. Bouree 1 & 2
DR12 -0.30 dB -16.56 dB 3:30 18-Suite 3, BWV 1009, Do Major, VI. Gigue
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 18
Official DR value: DR12
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 632 kbps
Codec: FLAC
================================================================================
Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 16. January 2011, 11:36
Antonio Meneses / J.S. Bach Cello Suites CD2
Used drive : Optiarc DVD RW AD-7203A Adapter: 0 ID: 1
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 : Installed external ASPI interface
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : D:\Program Files 2\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %j–picture="%i"%j %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:54.27 | 0 | 17576
2 | 3:54.27 | 3:44.20 | 17577 | 34396
3 | 7:38.47 | 3:18.47 | 34397 | 49293
4 | 10:57.19 | 4:14.41 | 49294 | 68384
5 | 15:11.60 | 4:50.53 | 68385 | 90187
6 | 20:02.38 | 2:41.55 | 90188 | 102317
7 | 22:44.18 | 6:01.69 | 102318 | 129461
8 | 28:46.12 | 5:00.36 | 129462 | 151997
9 | 33:46.48 | 2:07.60 | 151998 | 161582
10 | 35:54.33 | 3:26.12 | 161583 | 177044
11 | 39:20.45 | 4:22.32 | 177045 | 196726
12 | 43:43.02 | 2:15.10 | 196727 | 206861
13 | 45:58.12 | 4:24.10 | 206862 | 226671
14 | 50:22.22 | 7:04.15 | 226672 | 258486
15 | 57:26.37 | 3:37.33 | 258487 | 274794
16 | 61:03.70 | 4:05.69 | 274795 | 293238
17 | 65:09.64 | 3:46.12 | 293239 | 310200
18 | 68:56.01 | 4:01.65 | 310201 | 328340
Range status and errors
Selected range
Filename F:\My musica\Antonio Meneses\CD2\Antonio Meneses - J.S. Bach Cello Suites CD2.wav
Peak level 96.6 %
Extraction speed 0.2 X
Range quality 100.0 %
Copy CRC FE30BFD1
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 3) [2914E283]
Track 2 accurately ripped (confidence 3) [905CFD00]
Track 3 accurately ripped (confidence 3) [605889FD]
Track 4 accurately ripped (confidence 3) [51173A7E]
Track 5 accurately ripped (confidence 3) [3A2E351C]
Track 6 accurately ripped (confidence 3) [0931872F]
Track 7 accurately ripped (confidence 3) [96EEBC31]
Track 8 accurately ripped (confidence 3) [A4F0438C]
Track 9 accurately ripped (confidence 3) [50672E8F]
Track 10 accurately ripped (confidence 3) [0C6F363B]
Track 11 accurately ripped (confidence 3) [4FF8194A]
Track 12 accurately ripped (confidence 3) [06C4D9A2]
Track 13 accurately ripped (confidence 3) [B62855F8]
Track 14 accurately ripped (confidence 3) [3484A136]
Track 15 accurately ripped (confidence 3) [C9B3C857]
Track 16 accurately ripped (confidence 3) [31BC6D8E]
Track 17 accurately ripped (confidence 3) [73641710]
Track 18 accurately ripped (confidence 3) [FBC4510C]
All tracks accurately ripped
End of status report
EAC extraction logfile from 16. January 2011, 11:36
Antonio Meneses / J.S. Bach Cello Suites CD2
Used drive : Optiarc DVD RW AD-7203A Adapter: 0 ID: 1
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 : Installed external ASPI interface
Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : D:\Program Files 2\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %j–picture="%i"%j %s -o %d
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 3:54.27 | 0 | 17576
2 | 3:54.27 | 3:44.20 | 17577 | 34396
3 | 7:38.47 | 3:18.47 | 34397 | 49293
4 | 10:57.19 | 4:14.41 | 49294 | 68384
5 | 15:11.60 | 4:50.53 | 68385 | 90187
6 | 20:02.38 | 2:41.55 | 90188 | 102317
7 | 22:44.18 | 6:01.69 | 102318 | 129461
8 | 28:46.12 | 5:00.36 | 129462 | 151997
9 | 33:46.48 | 2:07.60 | 151998 | 161582
10 | 35:54.33 | 3:26.12 | 161583 | 177044
11 | 39:20.45 | 4:22.32 | 177045 | 196726
12 | 43:43.02 | 2:15.10 | 196727 | 206861
13 | 45:58.12 | 4:24.10 | 206862 | 226671
14 | 50:22.22 | 7:04.15 | 226672 | 258486
15 | 57:26.37 | 3:37.33 | 258487 | 274794
16 | 61:03.70 | 4:05.69 | 274795 | 293238
17 | 65:09.64 | 3:46.12 | 293239 | 310200
18 | 68:56.01 | 4:01.65 | 310201 | 328340
Range status and errors
Selected range
Filename F:\My musica\Antonio Meneses\CD2\Antonio Meneses - J.S. Bach Cello Suites CD2.wav
Peak level 96.6 %
Extraction speed 0.2 X
Range quality 100.0 %
Copy CRC FE30BFD1
Copy OK
No errors occurred
AccurateRip summary
Track 1 accurately ripped (confidence 3) [2914E283]
Track 2 accurately ripped (confidence 3) [905CFD00]
Track 3 accurately ripped (confidence 3) [605889FD]
Track 4 accurately ripped (confidence 3) [51173A7E]
Track 5 accurately ripped (confidence 3) [3A2E351C]
Track 6 accurately ripped (confidence 3) [0931872F]
Track 7 accurately ripped (confidence 3) [96EEBC31]
Track 8 accurately ripped (confidence 3) [A4F0438C]
Track 9 accurately ripped (confidence 3) [50672E8F]
Track 10 accurately ripped (confidence 3) [0C6F363B]
Track 11 accurately ripped (confidence 3) [4FF8194A]
Track 12 accurately ripped (confidence 3) [06C4D9A2]
Track 13 accurately ripped (confidence 3) [B62855F8]
Track 14 accurately ripped (confidence 3) [3484A136]
Track 15 accurately ripped (confidence 3) [C9B3C857]
Track 16 accurately ripped (confidence 3) [31BC6D8E]
Track 17 accurately ripped (confidence 3) [73641710]
Track 18 accurately ripped (confidence 3) [FBC4510C]
All tracks accurately ripped
End of status report
[CUETools log; Date: 22.09.2017 17:46:40; Version: 2.1.4]
[CTDB TOCID: xz3ZaWq_9pJbwCsMD_nifPRFrtA-] found.
Track | CTDB Status
1 | (5/6) Accurately ripped
2 | (5/6) Accurately ripped
3 | (5/6) Accurately ripped
4 | (5/6) Accurately ripped
5 | (5/6) Accurately ripped
6 | (5/6) Accurately ripped
7 | (5/6) Accurately ripped
8 | (5/6) Accurately ripped
9 | (5/6) Accurately ripped
10 | (5/6) Accurately ripped
11 | (5/6) Accurately ripped
12 | (5/6) Accurately ripped
13 | (5/6) Accurately ripped
14 | (5/6) Accurately ripped
15 | (5/6) Accurately ripped
16 | (5/6) Accurately ripped
17 | (5/6) Accurately ripped
18 | (5/6) Accurately ripped
[AccurateRip ID: 002ef5c3-0274c237-f4111912] found.
Track [ CRC | V2 ] Status
01 [2914e283|2e5f29df] (03+04/12) Accurately ripped
02 [905cfd00|4a2011a8] (03+04/12) Accurately ripped
03 [605889fd|4d3e57c4] (03+04/12) Accurately ripped
04 [51173a7e|c5fc6c14] (03+04/12) Accurately ripped
05 [3a2e351c|054af396] (03+04/12) Accurately ripped
06 [0931872f|fbfb1c9b] (03+04/12) Accurately ripped
07 [96eebc31|685b893d] (03+04/12) Accurately ripped
08 [a4f0438c|6bd46f95] (03+04/12) Accurately ripped
09 [50672e8f|a41e73fd] (03+04/12) Accurately ripped
10 [0c6f363b|d575bbab] (03+04/12) Accurately ripped
11 [4ff8194a|608ad32f] (03+04/12) Accurately ripped
12 [06c4d9a2|61fd6d74] (03+04/12) Accurately ripped
13 [b62855f8|c124dd7d] (03+04/12) Accurately ripped
14 [3484a136|6015fdb8] (03+04/12) Accurately ripped
15 [c9b3c857|48996019] (03+04/12) Accurately ripped
16 [31bc6d8e|731ee627] (03+04/12) Accurately ripped
17 [73641710|0e92d22c] (03+04/12) Accurately ripped
18 [fbc4510c|da11354b] (03+04/12) Accurately ripped
Offsetted by -664:
01 [e1926f45] (03/12) Accurately ripped
02 [e2e1332e] (03/12) Accurately ripped
03 [d65fdbd8] (03/12) Accurately ripped
04 [8852ab6c] (03/12) Accurately ripped
05 [6bb76185] (03/12) Accurately ripped
06 [86136a97] (03/12) Accurately ripped
07 [41bd0e5d] (03/12) Accurately ripped
08 [da2af3da] (03/12) Accurately ripped
09 [cadb746b] (03/12) Accurately ripped
10 [7b85d60d] (03/12) Accurately ripped
11 [a7802c20] (03/12) Accurately ripped
12 [5953f475] (03/12) Accurately ripped
13 [ec061b69] (03/12) Accurately ripped
14 [d88fc2f4] (03/12) Accurately ripped
15 [cefacddd] (03/12) Accurately ripped
16 [026d6193] (03/12) Accurately ripped
17 [780c05a4] (03/12) Accurately ripped
18 [36399a59] (03/12) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 96,6 [FE30BFD1] [23981222] CRC32
01 96,6 [7A783090] [4C17F9DF]
02 96,6 [45B617A3] [E955F888]
03 70,1 [30BA6FBA] [ECA333DB]
04 52,0 [6FFA3196] [D2E152D8]
05 96,6 [CD5332A8] [A55D30E5]
06 78,6 [C7465674] [CF10ECA9]
07 96,6 [7B89F14E] [C34EEE95]
08 89,5 [CC59E2C9] [128F5D7E]
09 77,3 [7D1E7550] [25A6783A]
10 24,8 [A3F7FA92] [E98C2AAC]
11 92,7 [299CE87B] [93102F02]
12 77,0 [29C5C134] [B1A36B53]
13 96,6 [380979CC] [DD5A29EA]
14 75,6 [9C79F466] [C34FE947]
15 88,3 [862F937B] [5381F94D]
16 60,6 [8013508E] [E2523352]
17 96,6 [80A67F8D] [D2CEF688]
18 80,4 [569632C3] [EC2F6812]
[CTDB TOCID: xz3ZaWq_9pJbwCsMD_nifPRFrtA-] found.
Track | CTDB Status
1 | (5/6) Accurately ripped
2 | (5/6) Accurately ripped
3 | (5/6) Accurately ripped
4 | (5/6) Accurately ripped
5 | (5/6) Accurately ripped
6 | (5/6) Accurately ripped
7 | (5/6) Accurately ripped
8 | (5/6) Accurately ripped
9 | (5/6) Accurately ripped
10 | (5/6) Accurately ripped
11 | (5/6) Accurately ripped
12 | (5/6) Accurately ripped
13 | (5/6) Accurately ripped
14 | (5/6) Accurately ripped
15 | (5/6) Accurately ripped
16 | (5/6) Accurately ripped
17 | (5/6) Accurately ripped
18 | (5/6) Accurately ripped
[AccurateRip ID: 002ef5c3-0274c237-f4111912] found.
Track [ CRC | V2 ] Status
01 [2914e283|2e5f29df] (03+04/12) Accurately ripped
02 [905cfd00|4a2011a8] (03+04/12) Accurately ripped
03 [605889fd|4d3e57c4] (03+04/12) Accurately ripped
04 [51173a7e|c5fc6c14] (03+04/12) Accurately ripped
05 [3a2e351c|054af396] (03+04/12) Accurately ripped
06 [0931872f|fbfb1c9b] (03+04/12) Accurately ripped
07 [96eebc31|685b893d] (03+04/12) Accurately ripped
08 [a4f0438c|6bd46f95] (03+04/12) Accurately ripped
09 [50672e8f|a41e73fd] (03+04/12) Accurately ripped
10 [0c6f363b|d575bbab] (03+04/12) Accurately ripped
11 [4ff8194a|608ad32f] (03+04/12) Accurately ripped
12 [06c4d9a2|61fd6d74] (03+04/12) Accurately ripped
13 [b62855f8|c124dd7d] (03+04/12) Accurately ripped
14 [3484a136|6015fdb8] (03+04/12) Accurately ripped
15 [c9b3c857|48996019] (03+04/12) Accurately ripped
16 [31bc6d8e|731ee627] (03+04/12) Accurately ripped
17 [73641710|0e92d22c] (03+04/12) Accurately ripped
18 [fbc4510c|da11354b] (03+04/12) Accurately ripped
Offsetted by -664:
01 [e1926f45] (03/12) Accurately ripped
02 [e2e1332e] (03/12) Accurately ripped
03 [d65fdbd8] (03/12) Accurately ripped
04 [8852ab6c] (03/12) Accurately ripped
05 [6bb76185] (03/12) Accurately ripped
06 [86136a97] (03/12) Accurately ripped
07 [41bd0e5d] (03/12) Accurately ripped
08 [da2af3da] (03/12) Accurately ripped
09 [cadb746b] (03/12) Accurately ripped
10 [7b85d60d] (03/12) Accurately ripped
11 [a7802c20] (03/12) Accurately ripped
12 [5953f475] (03/12) Accurately ripped
13 [ec061b69] (03/12) Accurately ripped
14 [d88fc2f4] (03/12) Accurately ripped
15 [cefacddd] (03/12) Accurately ripped
16 [026d6193] (03/12) Accurately ripped
17 [780c05a4] (03/12) Accurately ripped
18 [36399a59] (03/12) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 96,6 [FE30BFD1] [23981222] CRC32
01 96,6 [7A783090] [4C17F9DF]
02 96,6 [45B617A3] [E955F888]
03 70,1 [30BA6FBA] [ECA333DB]
04 52,0 [6FFA3196] [D2E152D8]
05 96,6 [CD5332A8] [A55D30E5]
06 78,6 [C7465674] [CF10ECA9]
07 96,6 [7B89F14E] [C34EEE95]
08 89,5 [CC59E2C9] [128F5D7E]
09 77,3 [7D1E7550] [25A6783A]
10 24,8 [A3F7FA92] [E98C2AAC]
11 92,7 [299CE87B] [93102F02]
12 77,0 [29C5C134] [B1A36B53]
13 96,6 [380979CC] [DD5A29EA]
14 75,6 [9C79F466] [C34FE947]
15 88,3 [862F937B] [5381F94D]
16 60,6 [8013508E] [E2523352]
17 96,6 [80A67F8D] [D2CEF688]
18 80,4 [569632C3] [EC2F6812]
foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-09-22 20:25:25
––––––––––––––––––––––––––––––––––––––––
Analyzed: Antonio Meneses / J.S. Bach Cello Suites CD2
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.30 dB -16.00 dB 3:54 01-Suite No.4, BWV 1010 in E flat major - I. Prelude
DR13 -0.30 dB -18.41 dB 3:44 02-Suite No.4, BWV 1010 in E flat major - II. Allemande
DR12 -3.07 dB -18.22 dB 3:19 03-Suite No.4, BWV 1010 in E flat major - III. Courante
DR13 -5.67 dB -22.69 dB 4:15 04-Suite No.4, BWV 1010 in E flat major - IV. Sarabande
DR14 -0.30 dB -19.03 dB 4:51 05-Suite No.4, BWV 1010 in E flat major - V. Bourree I & II
DR12 -2.08 dB -17.00 dB 2:42 06-Suite No.4, BWV 1010 in E flat major - VI. Gigue
DR13 -0.30 dB -16.94 dB 6:02 07-Suite No.5, BWV 1011 in C minor - I. Prelude
DR12 -0.96 dB -17.28 dB 5:00 08-Suite No.5, BWV 1011 in C minor - II. Allemande
DR12 -2.23 dB -18.46 dB 2:08 09-Suite No.5, BWV 1011 in C minor - III. Courante
DR11 -12.10 dB -26.75 dB 3:26 10-Suite No.5, BWV 1011 in C minor - IV. Sarabande
DR14 -0.66 dB -20.11 dB 4:22 11-Suite No.5, BWV 1011 in C minor - V. Gavotte I & II
DR12 -2.27 dB -19.99 dB 2:15 12-Suite No.5, BWV 1011 in C minor - VI. Gigue
DR12 -0.30 dB -15.06 dB 4:24 13-Suite No.6, BWV 1012 in D major - I. Prelude
DR12 -2.43 dB -19.53 dB 7:04 14-Suite No.6, BWV 1012 in D major - II. Allemande
DR11 -1.08 dB -17.12 dB 3:37 15-Suite No.6, BWV 1012 in D major - III. Courante
DR12 -4.35 dB -19.73 dB 4:06 16-Suite No.6, BWV 1012 in D major - IV. Sarabande
DR13 -0.30 dB -17.06 dB 3:46 17-Suite No.6, BWV 1012 in D major - V. Gavotte I & II
DR13 -1.89 dB -17.46 dB 4:02 18-Suite No.6, BWV 1012 in D major - VI. Gigue
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 18
Official DR value: DR12
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 638 kbps
Codec: FLAC
================================================================================
log date: 2017-09-22 20:25:25
––––––––––––––––––––––––––––––––––––––––
Analyzed: Antonio Meneses / J.S. Bach Cello Suites CD2
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -0.30 dB -16.00 dB 3:54 01-Suite No.4, BWV 1010 in E flat major - I. Prelude
DR13 -0.30 dB -18.41 dB 3:44 02-Suite No.4, BWV 1010 in E flat major - II. Allemande
DR12 -3.07 dB -18.22 dB 3:19 03-Suite No.4, BWV 1010 in E flat major - III. Courante
DR13 -5.67 dB -22.69 dB 4:15 04-Suite No.4, BWV 1010 in E flat major - IV. Sarabande
DR14 -0.30 dB -19.03 dB 4:51 05-Suite No.4, BWV 1010 in E flat major - V. Bourree I & II
DR12 -2.08 dB -17.00 dB 2:42 06-Suite No.4, BWV 1010 in E flat major - VI. Gigue
DR13 -0.30 dB -16.94 dB 6:02 07-Suite No.5, BWV 1011 in C minor - I. Prelude
DR12 -0.96 dB -17.28 dB 5:00 08-Suite No.5, BWV 1011 in C minor - II. Allemande
DR12 -2.23 dB -18.46 dB 2:08 09-Suite No.5, BWV 1011 in C minor - III. Courante
DR11 -12.10 dB -26.75 dB 3:26 10-Suite No.5, BWV 1011 in C minor - IV. Sarabande
DR14 -0.66 dB -20.11 dB 4:22 11-Suite No.5, BWV 1011 in C minor - V. Gavotte I & II
DR12 -2.27 dB -19.99 dB 2:15 12-Suite No.5, BWV 1011 in C minor - VI. Gigue
DR12 -0.30 dB -15.06 dB 4:24 13-Suite No.6, BWV 1012 in D major - I. Prelude
DR12 -2.43 dB -19.53 dB 7:04 14-Suite No.6, BWV 1012 in D major - II. Allemande
DR11 -1.08 dB -17.12 dB 3:37 15-Suite No.6, BWV 1012 in D major - III. Courante
DR12 -4.35 dB -19.73 dB 4:06 16-Suite No.6, BWV 1012 in D major - IV. Sarabande
DR13 -0.30 dB -17.06 dB 3:46 17-Suite No.6, BWV 1012 in D major - V. Gavotte I & II
DR13 -1.89 dB -17.46 dB 4:02 18-Suite No.6, BWV 1012 in D major - VI. Gigue
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 18
Official DR value: DR12
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 638 kbps
Codec: FLAC
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Antonio Meneses - J.S. Bach: The 6 Cello Suites (2004) 2CDs
