Exact Audio Copy V1.0 beta 2 from 29. April 2011

EAC extraction logfile from 8. November 2013, 21:12

Waltraud Rennebaum & Ensemble SHOSHAN / Shirei ha Ma'alot

Used drive : Optiarc DVD RW AD-5200A Adapter: 0 ID: 0

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 : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\wavpack.exe
Additional command line options : -hlmx2 %source% %dest%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 4:03.02 | 0 | 18226
2 | 4:03.02 | 3:42.52 | 18227 | 34928
3 | 7:45.54 | 5:22.39 | 34929 | 59117
4 | 13:08.18 | 4:48.74 | 59118 | 80791
5 | 17:57.17 | 3:42.16 | 80792 | 97457
6 | 21:39.33 | 3:29.38 | 97458 | 113170
7 | 25:08.71 | 6:10.26 | 113171 | 140946
8 | 31:19.22 | 3:14.45 | 140947 | 155541
9 | 34:33.67 | 3:05.04 | 155542 | 169420
10 | 37:38.71 | 3:42.17 | 169421 | 186087
11 | 41:21.13 | 4:28.62 | 186088 | 206249
12 | 45:50.00 | 4:14.52 | 206250 | 225351
13 | 50:04.52 | 3:06.67 | 225352 | 239368
14 | 53:11.44 | 3:32.59 | 239369 | 255327
15 | 56:44.28 | 4:28.68 | 255328 | 275495
16 | 61:13.21 | 5:58.45 | 275496 | 302390


Range status and errors

Selected range

Filename E:\Ma'alot_NetLab_e2k_ru\Waltraud Rennebaum & Ensemble SHOSHAN - Shirei ha Ma'alot.wav

Peak level 98.9 %
Extraction speed 4.0 X
Range quality 100.0 %
Test CRC B0AB4119
Copy CRC B0AB4119
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 1) [1A66FAD5] (AR v1)
Track 2 accurately ripped (confidence 1) [BB726D3F] (AR v1)
Track 3 accurately ripped (confidence 1) [8772AE1A] (AR v1)
Track 4 accurately ripped (confidence 1) [F54FC561] (AR v1)
Track 5 accurately ripped (confidence 1) [49F58A2F] (AR v1)
Track 6 accurately ripped (confidence 1) [2BF95486] (AR v1)
Track 7 accurately ripped (confidence 1) [7126959B] (AR v1)
Track 8 accurately ripped (confidence 1) [391CB68E] (AR v1)
Track 9 accurately ripped (confidence 1) [93CA972E] (AR v1)
Track 10 accurately ripped (confidence 1) [F7E128FC] (AR v1)
Track 11 accurately ripped (confidence 1) [9A3A56AB] (AR v1)
Track 12 accurately ripped (confidence 1) [A80180B2] (AR v1)
Track 13 accurately ripped (confidence 1) [1B2B95D6] (AR v1)
Track 14 accurately ripped (confidence 1) [D5D2F8ED] (AR v1)
Track 15 accurately ripped (confidence 1) [9C02A0FE] (AR v1)
Track 16 accurately ripped (confidence 1) [6BAD2FB9] (AR v1)

All tracks accurately ripped

End of status report

==== Log checksum D7F7394558BA5DD269C75A307C28631E829CDD342971DB874AD3986AF847E774 ====

"Ma'alot" is the plural of the Hebrew word "Ma'alah", which means "step", "degree" or "ascent". Psalms 120 through 134 represent the cycle of ascension or pilgrimage songs, in Hebrew "Shirei ha Ma'alot". Once they were sung on the occasion of the great feasts of pilgrimage – Passover, Shavuot and Sukkot – on the way up to Jerusalem and eventually on the steps of the temple. In synagogues and churches around the world these psalms are still being recited in the respective languages. They develop their own special appeal when sung in the original Hebrew accompanied by instruments, because psalms actually were songs of prayer, expressing the emotions of the praying person by tune and rhythm.
Who are the authors of the cycle of pilgrimage songs? King David, who wrote the psalms 122, 124, 131 and 133, and his son Solomon, writer of psalm 127, are mentioned by name. Regrettably, we do not know who created the remaining ten songs.
Each song starts with the words "Shir ha Ma'alot" (song of ascents). The small subtitle at the beginning of any psalm generally indicates the occasion for the psalm or its musical character, for example whether it be an elegy or a praise song. Sometimes it also refers to a special kind of melody, e.g. "set to Shoshanim" meaning "to the tune of lilies", or we find informations concerning the use of certains instruments. The fact that all 15 psalms 120 through 134 start with the same headline reveals that these psalms represent a cycle of songs belonging together by a unique correlation.
Jews and Christians are convinced that the "Shirei ha Ma'alot" were sung in ancient Israel during the traditional feasts of pilgrimage, primarily at the beginning of the feast of tabernacles (Sukkot), on the steps of the temple. The Talmud teaches that there was a semicircular flight of 15 stairs in the temple at Jerusalem leading from the women's district up to men's vestibule. The early Christian Church believed that Levitic priests during the feasts intoned each following psalm in a higher key on each next step of the staircase. Martin Luther translated the Hebrew subtitle of the psalms of pilgrimage by "song in an upper choir" because he assumed that the songs had been recited by a choir on an elevated stage.



Следующие за 118-м псалмом пятнадцать псалмов (119-133) называются песнями степеней или восхождений (ώδή άναβάσεων). Так названы они потому, что пророчествуют о восхождении бывших в плену вавилонском иудеев в Иерусалим, т.е. о том, как они, находясь в скорби, молились Богу и, быв услышаны, возвратились в свое отечество. "Степенями, - говорит св. Златоуст, - псалмы сии названы в историческом смысле потому, что в них говорится о возвращении из Вавилона и упоминается о тамошнем плене, а в смысле переносном - потому, что они наставляют на путь добродетели, ибо путь, ведущий к ней, подобен ступеням и постепенно возводит добродетельного и любомудрого мужа от замешательства в сей жизни, как бы от Вавилона, и поставляет на самом небе, как бы в другом Иерусалиме". По изъяснению блж. Феодорита, "не каждая песнь степеней предвозвещает одно и то же, но одна представляет бедствия в Вавилоне, другая - благовестие о возвращении, иная - веселье на пути, иная же - войны, бывшие по возвращении, а иная - построение храма. Каждый из сих псалмов представлен так, как будто воспевается ликом бывших тогда святых". Некоторые из позднейших толковников думают, что сии пятнадцать псалмов названы песнями степеней, или восхождений, по числу пятнадцати ступеней Иерусалимского храма, при восхождении по которым пелись сии псалмы, и пелись голосом, постепенно возвышающимся, отчего и самый музыкальный инструмент, под музыку которого должно было петь сии псалмы, назван был маалот (восхождение). Достоверно неизвестно, кем составлены сии псалмы, хотя некоторые из них в еврейском тексте носят имя Давида, как, например, 121 и 132. В Вульгате же 123-й и 130-й псалмы надписываются: Cancticum graduum ipsi David, а 26-й - Cancticum graduum Salomonis; в других же изданиях, как у Тремеллия, - Cancticum excellentissimum Davidis, Cancticum excellentissimum pro Salomone. Есть мнение толковников, что все пятнадцать псалмов написаны во время вавилонского плена или по возвращении из него Ездрою, Аггеем, Захариею и Малахиею.