Fixing Mistakes #3: Fixing the ALBUM tag

This is the last in my series of three posts explaining what I've done to fix up a silly cataloguing error in my extensive music library. The problem was first described back here. But to recap: whilst I have always "allowed" the inclusion of a recording year in the ALBUM tag where it was necessary (to distinguish, for example, between Boult's 1959 and 1968 recordings of Vaughan Williams' 9th symphony), I only added the recording date rarely, and as an exception to the norm. Rethinking the logic of what counts as recorded music's primary key, however, I realised that the recording date should always and without exception be included in a recording's ALBUM tag.

So, the past few posts have been about the scripts I wrote to (a) check every recording had a recording year stored in its YEAR tag; (b) to check that those recordings that had a date included in their ALBUM tag matched there what their YEAR tag said should apply as the recording date. [...] 

Continue Reading

Fixing Mistakes #2: Checking the ALBUM tag

So, this is the next in a mini-series of posts, explaining how I went about fixing up the discovery that I'd tagged my music files incorrectly after all these years, despite knowing better!

The short version is that I always knew the recording date was an important factor in distinguishing between recordings of the same work by the same artist, but since I didn't often have duplicates, I assumed I'd get away without including it in the ALBUM tag for a composition. And then I realised that though I might well get away with it today, a new acquisition here or there could well mean that I wouldn't get away with it for ever: if the information is theoretically necessary to distinguish recordings, then it ought to be present, always[...] 

Continue Reading

Fixing Mistakes #1 : Checking the YEAR tag

My last post explained that my music collection needed to be re-catalogued to some extent. In particular, I needed to make sure that every track I've ever ripped has an entry in its YEAR tag, identifying when a particular recording was made (because that little piece of information turns out to be a crucial component in classical music recordings' "primary key")

I wasn't going to check all 64,000+ ripped audio tracks by hand to achieve this! Instead, I needed to script something that could batch-check my entire collection in one go. [...] 

Continue Reading

Fixing some mistakes...

I was in discussion with some people on a Classical music forum recently. Topic of discussion: yet again, the issue of how you go about tagging your music collection so that it works efficiently and in a scalable manner to achieve good music discovery and access. Of course, I long ago decided I had the correct approach to that!

Anyway, the discussion did what it usually does: when push comes to shove, two of the people declaring my proposals unworkable turn out not to bother with tagging music at all (too much hard work!). So they simply rely on their operating system's search engine (which in Windows' case, keeps changing as new OS versions are released, but let's not worry about that just for now!), or in a physical storage hierarchy that they can traverse easily in Windows' file manager. For the record, if you've structured your music appropriately physically, it's trivially easy to use that physical structure to back-port into metadata tags in your music files, and thus most of the hard work of structuring it logically has already been done. But let's not worry about that just for now, either! [...] 

Continue Reading

Down for Maintenance - Advanced Notice

This weekend, I hope to move this website from its current virtual machine host onto a dedicated physical server. The aim is to improve the speed and responsiveness of the site: though the virtual machine it's currently running on is generously provisioned with RAM and virtual CPUs, I think the site 'sticks' for longer intervals than I'm entirely comfortable with. Hopefully, on a reasonably powerful physical server that is also generously provisioned, things should be more fluid and performant.

Unfortunately, transferring to a new machine means there will be an interval when the old virtual machine goes down before the new physical server can take its place. Potentially, that interval could be in the order of a few hours. The site will be completely inaccessible for those hours. My apologies for that in advance. Hopefully, it's a one-off and normal service will be resumed (and stay resumed) fairly swiftly thereafter! [...] 

Continue Reading

Jewishness in Music

I was recently engaged in a discussion about Wagner's antisemitism and whether or not it had anything to do with the rise of the Nazis. Could it be said that Wagner, in some way, paved the way for the horrors of Auschwitz or Treblinka?

My personal view is that Wagner's music is sublime, but he was a rotten person -and his declared and un-repented antisemitism will forever tarnish his name and make those who admire his music regret his personality a lot. But no: he drank from the same stream of antisemitism that Hitler later did, but there is no Wagnerite ideology that Wagner developed as a coherent philosophy of anti-Jewishness, and neither did he manage to convey an ideology to Hitler or any other Nazi of the 20th Century by any means whatsoever. So no, in short: Wagner didn't give rise to Nazis, or offer them any philosophical or ideological underpinning at all. [...] 

Continue Reading

Bach Cantatas

I've been toying with the idea of producing a new translation of the texts to all of Johann Sebastian Bach's cantatas for over 10 years now. Their poetry is neither particularly lovely nor, to modern ears, inspiring -but I think having an understanding of what texts Bach used as the foundations to his glorious music is nevertheless important. From them, you get a profound sense of how the Lutheran theology of the day (and no doubt the rotten state of 18th Century medicine and social provision) set a cast upon Bach's mind, and the minds of his contemporaries: a peculiar-to-us longing for death, a trusting relationship in a God who might chastise but would not be cruel and so on. Above all, I think, a quite fatalistic outlook on life: it's beyond our control, what will be will be, it's all for the best and God's ordaining it behind the scenes anyway.

Just as an appreciation of Dickens' literature is enhanced in not-particularly concrete ways by having a broad understanding of the social context of his times in mid-nineteenth century England, so I believe one's appreciation of the music of Bach's cantatas can be enhanced by an understanding of the words he was setting. [...] 

Continue Reading

Coming Home

If you're reading this, it means that my move to self-hosting my website has gone more-or-less according to plan!

I've been paying a reasonable amount to Linode for many years now to run a server in New York on which to host this site. It's not a lot of money (US$12 a month, if you're really interested), but since this site is now merely a hobby and nothing at all to do with earning an income, it didn't seem to be a good idea to keep shelling out the dollars for it when I have a loft full of spare PCs, servers and laptops (most definitely in the geriatric category, but all capable of running a decent 64-bit Linux distro in 8GB RAM) that could be tasked to do the job for free instead. [...] 

Continue Reading

Suzuki or Koopman?

I have bought more complete sets of Bach Cantatas in my time than is probably good for a man! I started with the Leusink Cycle that was included in the Brilliant Classics 'complete Bach' set and is now available as a separate purchase: I would strongly advise any Bach newbie to avoid that cycle like the plague. The performances seem, on occasion, to have been thrown together with little rehearsal and with no real regard to 'choir tone'. Some voices stand out like sore thumbs; worse, the entire set of boy trebles have a weird tendency to 'hoot' -a most disagreeable sound indeed!

I then bought the complete Gardiner set: Gardiner is a solid conductor who you can generally rely on for performances of excellent quality and with sound musicianship. There is usually, also, a good deal of musicological learning underpinning the performance practice used. I certainly preferred my Gardiner Cycle to the Leusink (which went in the bin)... but they weren't really very exciting performances. They were, frankly, a bit dull. But the packaging was spectacular, so... you know: you pays your money and makes your choices! [...] 

Continue Reading

The Classical CD Ripper, Version 3

The Classical CD Ripper (CCDR) has been updated and a new version (Version 3.0, for anyone keeping count!) is now available for download. Upgrading consists of merely deleting your existing copy of the shell script, downloading the new one in its place, and remembering to make it executable (chmod +x ccdr.sh).

The changes from the previous version are extensive. Out goes all the coloured text and other attempts to prettify its output: it's a text-based application, so deal with it! [...] 

Continue Reading