(Latin, Folk, World) [LP] [24/96] The Banda Taurina ‎– ¡Torero! La Fiesta Brava, Vol. 3 - 1963 RE?, FLAC (image+.cue)

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The Banda Taurina ‎– ¡Torero! La Fiesta Brava, Vol. 3
Жанр: Latin, Folk, World
Носитель: LP
Год выпуска: 1963 RE?
Лейбл: Audio Fidelity – AFSD 5818
Страна-производитель: США
Аудио кодек: FLAC
Тип рипа: image+.cue
Формат записи: 24/96
Формат раздачи: 24/96
Продолжительность: 00:38:37
Toque De Quadrillas
Toque De Bandarillas
Clavales De Espana
Cuerdas De Mi Guitarra
Toque De Muerte
Aires Andaluces
Toque Al Corral
[*]San Luis DominguinИсточник оцифровки: автором раздачи
Код класса состояния винила: Ex
Устройство воспроизведения: Technics SL-2000
Головка звукоснимателя: Audiotechnica
Предварительный усилитель: Terratec DMX6fire USB (phono-вход)
АЦП: Terratec DMX6fire USB
Программа-оцифровщик: Adobe Audition CC
Обработка: iZotope RX, Удаление щелчков, нормализация

Доп. информация: Музыкальное сопровождение корриды на самой большой в мире арене для боя с быками Plaza de Toros в Мехико из серии "¡La Fiesta Brava!".
About this recording
The blazing sun burns the dirt of the arena. The air is charged with tense excitement as the crowd awaits the signal for the bullfight to start. Last minute preparations are being completed. No sounds comes from the corrals, where the bulls have been kept quiet for several days. Everything is in readiness for the great spectacle about to be enacted. Every "actor" is in his place, each ready to play his appointed role in the drama of death. There are the matadors, the banderilleros and the picadors. Lurking in the shadows of the ring are the cuadrillas, the matador's assistants whose job it is to see that everything goes like clockworks.
Suddenly a hush comes over the crowd. The presidente, supreme authority in the ring, has given the signal for the corrida de toros or "running of the bulls" to begin. The band strikes up, and a mighty cheer fills the arena as the matadors stride out followed by the banderilleros and the mounted picadors. After all the bullfighters have bowed to the presidente, the picadors and drag mules leave the ring and the matadors and banderilleros sling their dress capes up to friends in the front rows of the ring to spread out in front of them. The sword boys hand the toreros their big capes and readying weapons in the passageway leading to the ring. The arena is cleared, kettledrums rumble and a trumpet blares. Again a hush comes over the crowd as the toril gate is flung open. Into the ring bursts the first bull of the afternoon, and he looks around for something to kill.
Like the circus band, the bullfight band performs a special function for the action taking place in the arena. But here any other similarity between the two ends. Circus music provides an accopmaniment for acrobatics, animal acts and clowning and, except for the tense aerial acts, is gay and light. Bullfight music is charged with a certain gravity, since the action it accompanies is deadly serious.
There are nine selections in this recording, each having a particular significance as marking as integral part of the bullfight, as a dedicatory piece to some person, or merely as a musical episode. They are listed below in the order heard.
Side 1, Band 1: Silveirio — This is the name of a famous Mexican matador. As is customary, it is an assumed or "stage" name, and the music is named in his honor.
Band 2: Toque de Cuadrillas — Taken literally, this means "Signal for the assistants". It is a kind of fanfare marking the point at which the assustants to the matador lead the bull on by waving their caps and capes, giving the matador an opportunity to observe the bull in action and note how he behaves.
Band 3: Valencia — A selection named after the Spanish province of the same name.
Band 4: Toque Banderillas — A musical cue which denotes the phase of the bullfight in which the banderillas are to be placed in the bull.
Band 5: Granada — Here again is a piece which, like Valencia, honors that provincial portion of Spain known as Granada.
Side 2, Band 1: Cuerdas de mi Guitarra — This means literally "chords or strings of my guitar." It has no particular significance in that it marks any one part of the bullfight, but is just plain background music for the action going on in the ring.
Band 2: Toque de Muerte — The climax of the bullfight, the "Signal of Death" or "moment of truth" takes place as this fanfare is played. It marks the stage of the fight at which the matador must begin his _faena_ or final struggle that is supposed to end with the death of the bull. At this point in the spectacle the matador stands alone in the ring with the bull, all eyes focused on his every movement. The outcome of this encounter depends on his skill on dealing an effective death thrust to the animal.
Band 3: Aires Andaluces — Composed of three parts, this is a little suite intended to provide general background music for whatever may be going on in the arena. In recent years bullfight bands have come to play more and more of this type of selection, and many bands have their own particular specialties that are favorites with the crowd.
Band 4: Toque al Corral — After the matador has slain the bull, or at least met the bull and finished his encounter with the beast, this selection is played to indicate that time at which the matador leaves the ring and the bull is either pulled away, dead, or mortally wounded. It sometimes happens that the bull is returned to the corral because the matador has not been successful in killing the animal quickly or skillfully. At times the bull may be returned because it just isn't lively or ferocious enough, or because it has been injured and is not considered enough of a challenge for the matador.
The action of the Bullfight
Every bullfight is divided into three parts or phases. First comes the phase of the picadors; next the phase of the banderilleros; and finally the phase of the _muleta_, the time when the matador draws the bull on with a small, red heart-shaped cloth which he uses to conceal the sword used for the death thrust.
At the designated hour, which usually depends on how warm the weather is, a bugle call marks the beginning of the bullfight. The _puerta de cuadrillas_, or gate of the assistants, opens and a rider dressed in black known as an _alguacil_ crosses the ring and salutes the presidente, the supreme authority in the ring. This custom and the mode of dress of the alguacil goes back to medieval times. Behind the alguacil come the matadors, banderilleros, picadors and other cuadrillas.
After this procession ends, a fanfare announces the release of the first bull, which comes rushing out from the toril gate. During these first few minutes of the fight the banderilleros cape the bull in order that the matador may observe the animal in action and learn any peculiar traits he has. The banderillero uses only one hand in holding the cape, and flips it first to one side, then to another so that the bull will charge in opposite directions. After the matador has watched the antics of the bull, he approaches the animal and performs a series of passes using a cape. His main object here is to display his caping technique. When he has completed a few passes, he walks away, yielding the arena to the picadors.
Actually there are three pic-ing episodes by the picadors. These are intended to weaken the bull's shoulder muscles so that the matador may eventually work effectively with the muleta and deal the bull the death blow. The pic-ings are interspersed with _quites_, actions designed to lead the bull away from the picadors. The picadors will stick the bull with their lances vigorously or gently, depending on whether the beast is strong or weak. And whenever the bull charges the picadors and their horses, the matador performs a _quite_.
After the pic-ing has taken place, the banderilleros enter the ring in order to place the banderillas. Like the pic-ing, the placing of the banderillas is intended to weaken the shoulder muscles of the bull. Some matadors place their own banderillas; others leave it to the banderilleros. The test of how well this is accomplished depends on how straight the banderilleros keep their body when they place the darts, how close they allow themselves to come to the bull's horns, and how high they hold their arms. No capes are used during this phase of the fight. From one to three pairs of banderillas may be placed in the bull, depending on how lively it is. Timing and body position are therefore of utmost importance with the banderilleros.
Following the placing of the banderillas, a fanfare announces the third and final phase of the fight — the _faena_ or "moment of truth". It is at this point that the art of the matador is put to the supreme test. Working with the muleta and a sword, the matador performs a series of passes. This is the most important and exciting part of the bullfight, since the matador should try to get as close to the bull as he dares during the passes. The closer he comes, the more the crowd loves it and the better his performance. There are many types of passes, and every matador has his own special passes or variations on standard passes.
After the matador completes a number of passes using the muleta, he prepares for the _estocada_ or sword thrust. In order to effect a quick and successful kill he must maneuver himself into a position directly in front of the bull. His task is to stab the bull in the neck with a vies towards cutting the vital aorta. To accomplish this he uses muleta to conceal his sword, and attempts to work himself close to the bull's head. When he has done this, he rises on his toes, aims the sword carefully and, putting all his weight behind it, thrusts the weapon into the bull. He must exercise care against two things — one, the chance of touching a bone in the bull's body and having the sword blade deflected; two, missing his timing. If either of these happens, he is apt to be gored or tossed in the air.
The matador has 15 minutes in which to make the kill. After the first ten, a warning bugle is sounded. Three minutes later a second warning is given; and two minutes later the third and final warning. If he fas not killed the bull by this time, or at least wounded it mortally, he is in disgrace. It often happens that a matador stabs a bull and inflicts a mortal wound without the animal dying immediately. In this case, one of the cuadrillas comes out with a _descabello_, a sword somewhat shorter than that used by the matador, and severs the animal's spinal cord. For a good perfomance a matador is awarded one or both ears of the bull plus the tail.
One of the best characterizations of the bullfight was made by the British writer John Marks, who said: "The bullfight is sometimes condemned as a particularly depraved combination of a spectator-sport and a blood-sport, in which the gloating witness runs no personal risk. The accusation is unjust. The bullfight audience takes neither part nor pleasure in causing pain to the victims of the fiesta, whose sacrifice is not contrived as an end in itself, to provide selfish amusement, but solely as a means to conjure up visions of movement and color, and to excite the sublime tragic emotion shich Aristotle defined as pity mixed with fear."
Technical Data (RIAA)
Total Frequency Range Stereophonic Recording

The Hight Fidelity Stereophonic Recording was produced featuring the Frey Stereophonic Curtain of Sound* technique.
When heard on a balanced playback system, the elements or musicians on the recording will be reproduced in the exact locations, directionally, as at the original perfomance. This original, positive technique to produce a pure, true stereophonic effect so that the instrumets or elements of the recording are perfectly relocated as to direction of sound is an Audio Fidelity development and is true stereophonic reproduction.
This recording was made on an Ampex 350-2 with special electronic circuitry, using Altec, Electrovoice, RCA, and Telefunken microphones. The masters were cut with an automatic Scully Record Lathe mounting a Westrex 45-45 cutter with special feedback electronic circuitry driven by custom 200 watt amplifiers.
Precision mastering was done so as to achieve maximum stylus velocity consistent with minimum distortion, resulting in the ultimate in channel separation and realizing the greatest possible signal-to-noise ratio.
While the total frequency range of 16 cps to 25,000 cps on this record may not be within the range of ordinary human hearing, nevertheless inspection of the grooves with a microscope will show the etchings of the upper dynamic frequencies were omitted from this record a certain warmth of tone that is felt and sensed rather than heard would be lost. For this reason and to achieve the ultimate in our "Studies in HIGH FIDELITY STEREOPHONIC sound" we have gone to these extreme electronic lengths.
Although any 33 1/3 RPM stereophonic record playback equipment may be used in playing this recording, it is a recommended that playback equipment of extreme wide range and fidelity be used so that the recording may be enjoyed to its utmost.
Low Frequency Limit . . . . . . . . . . . . . . . . 16 CPS
High Frequency Limit . . . . . . . . . . . . . . . 25,000 CPS
Crossover . . . . . . . . . . . . . . . . . . . . . 500 CPS
Rolloff . . . . . . . . . . . . . . . . . . . . . . 13.75 DB at 10 KC
Уважаемые коллеги, любители музыки! Уважая свободу Интернета и свободу получения и распространения информации как неотъемлемое право любого человека в цивилизованном обществе, я стараюсь поддерживать объём свободно-доступной информации, имеющей значение для мирового культурного наследия, с помощью подобных релизов на торрент-трекерах и в соцсетях, прилагая к этому столько сил, сколько возможно. Учитывая свои знания, опыт, технические возможности находящейся в моём распоряжении аппаратуры, я стараюсь делать как можно более качественные цифровые копии музыкальных произведений с аналогового носителя. Практически все виниловые пластинки подвергаются мойке перед оцифровкой с последующей упаковкой в новые внутренние пакеты с целью продлить их жизнь. Обработка оцифровок, если она касается удаления щелчков и «песка», присутствующего на старых записях, которые, к тому же, не всегда хранились должным образом и аккуратно проигрывались на качественной аппаратуре, ведётся с прослушиванием удаляемой части звука с тем, чтобы минимизировать объём удалённого полезного сигнала. В некоторых случаях целесообразно ручное удаление дефектов пластинки (спектральное восстановление). Вряд ли кто-то из задумывался более полувека назад, что эти пластинки, часть личной истории какой-то семьи, часть мировой истории, смогут пережить подчас и своих хозяев, и запечатлённое на них время, чтобы показывать будущим поколениям, что было до них. Такая работа, как вы прекрасно знаете, отнимает достаточно сил и времени, но сохранение и популяризация в Интернете подобных памятников мировой музыкальной культуры, редких ли, ценных ли, — кто знает? — я считаю, достойная цель всему этому. И ваше «спасибо» под этим релизом нажатием на кнопку или комментарием будет лучшим доказательством верности этого пути.
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