Super HD-Vinyl 192/24 (Telarc) Carl Orff – Carmina Burana

Revisited with the Black Bird Gang – rip from Apr. 2016
In my opinion, the best sounding “Carmina” and one of the best interpretations. A great feast for your ears and your equipement.
Although this is (probably) a 16bit/44.1kHz digital production, the vinyl sounds worlds better that the CD…trust in me (cit.)

# Composer: Carl Orff, Paul Hindemith
# Performer: Judith Blegen, Hakan Hagegard, William Brown
# Orchestra: Atlanta Symphony Orchestra and Chorus
# Conductor: Robert Shaw
# Vinyl (1981)

# Number of Discs: 2
# Format: Flac
# Label: Telarc
# DR-Analysis: DR 13
# Size: 2.91GB
# Scan: yes
# Server: FF

As much as critics–and many musicians–love to hate this work, Carmina Burana is a uniquely entertaining and justly popular theatrical masterpiece. This collection of 13th-century secular poems, originally found in a Bavarian monastery, were selected, set to original music, and arranged for a large modern orchestra, vocal soloists, and choirs by German composer Carl Orff. Orff ingeniously used these large forces to create a work of astonishing and powerful simplicity. The simplest melodies, primal rhythms, and rudimentary orchestration combine for an unforgettably dynamic musical and dramatic experience. This is one of the first digital recordings of the work, and one of the more successful in balancing the large numbers of singers and instrumentalists. Judith Blegen’s lovely rendition of “In trutina” is worth many hearings, and the energy and excitement generated in the sections for full choir and orchestra are something you just have to experience. –David Vernier


  Carmina Burana (Cantiones Profanae)
  Fortuna Imperatrix Mundi
A1 O Fortuna 2:30
A2 Fortune Plango Vulnera 2:42
  I. Primo Vere
A3 Veris Leta Facies 4:12
A4 Omnia Sol Temperat 2:21
A5 Ecce Gratum 2:49
  Uf Dem Anger
A6 Tanz 1:44
A7 Floret Silva 3:13
B1 Chramer, Gip Die Varwe Mir 3:18
B2 Reie 1:35
B3 Swaz Hie Gat Umbe 2:10
B4 Chume, Chum Geselle Min 0:30
B5 Were Diu Werlt Alle Min 0:52
II. In Taberna
B6 Estuans Interius 2:30
B7 Olim Lacus Colueram 3:28
B8 Ego Sum Abbas 1:37
B9 In Taberna Quando Sumus 3:11
III. Cour D’Amour
C1 Amor Volat Undique 3:28
C2 Dies, Nox Et Omnia 2:25
C3 Stetit Puella 1:51
C4 Circa Mea Pectora 2:12
C5 Si Puer Cum Puellula 0:52
C6 Veni, Veni, Venias 0:57
C7 In Trutina 2:14
C8 Tempus Est Iocundum 2:17
C9 Dulcissimo 0:46
Blanziflor Et Helena
C10 Ave Formosissima 1:55
Fortuna Imperatrix Mundi
C11 O Fortuna 2:46
D Paul Hindemith – Symphonic Methamorphosis on Themes by Weber 20:17


Analyzed folder: /192k Orff – Carmina Burana – Shaw
DR        Peak        RMS        Filename
DR14        -1.48 dB     -20.04 dB     A1 Fortuna Imperatrix Mundi – O Fortuna.aif
DR12        -6.97 dB     -25.40 dB     A2 Fortuna Imperatrix Mundi – Fortune Plango Vulnera.aif
DR15        -23.36 dB     -42.10 dB     A3 I. Primo Vere – Veris Leta Facies.aif
DR15        -19.17 dB     -39.85 dB     A4 I. Primo Vere – Omnia Sol Temperat.aif
DR13        -3.05 dB     -22.97 dB     A5 I. Primo Vere – Ecce Gratum.aif
DR13        -3.56 dB     -25.20 dB     A6 Uf Dem Anger – Tanz.aif
DR15        -10.01 dB     -31.57 dB     A7 Uf Dem Anger – Floret Silva.aif
DR12        -21.34 dB     -35.73 dB     B1 Uf Dem Anger – Chramer, Gip Die Varwe Mir.aif
DR11        -27.74 dB     -41.56 dB     B2 Uf Dem Anger – Reie.aif
DR13        -4.94 dB     -26.83 dB     B3 Uf Dem Anger – Swaz Hie Gat Umbe.aif
DR11        -5.32 dB     -20.98 dB     B4 Uf Dem Anger – Chume, Chum Geselle Min.aif
DR13        -0.48 dB     -21.48 dB     B5 Uf Dem Anger – Were Diu Werlt Alle Min.aif
DR17        -5.99 dB     -27.34 dB     B6 II. In Taberna – Estuans Interius.aif
DR16        -8.91 dB     -30.86 dB     B7 II. In Taberna – Olim Lacus Colueram.aif
DR14        -4.29 dB     -24.68 dB     B8 II. In Taberna – Ego Sum Abbas.aif
DR15        -2.45 dB     -23.59 dB     B9 II. In Taberna – In Taberna Quando Sumus.aif
DR14        -16.48 dB     -38.28 dB     C1 III. Cour D’Amour – Amor Volat Undique.aif
DR13        -22.57 dB     -40.24 dB     C2 III. Cour D’Amour – Dies, Nox Et Omnia.aif
DR13        -13.38 dB     -31.20 dB     C3 III. Cour D’Amour – Stetit Puella.aif
DR12        -7.16 dB     -24.31 dB     C4 III. Cour D’Amour – Circa Mea Pectora.aif
DR13        -8.71 dB     -29.30 dB     C5 III. Cour D’Amour – Si Puer Cum Puellula.aif
DR12        -3.68 dB     -21.99 dB     C6 III. Cour D’Amour – Veni, Veni, Venias.aif
DR13        -18.42 dB     -37.14 dB     C7 III. Cour D’Amour – In Trutina.aif
DR15        -3.87 dB     -24.77 dB     C8 III. Cour D’Amour – Tempus Est Iocundum.aif
DR9        -15.99 dB     -31.57 dB     C9 III. Cour D’Amour – Dulcissimo.aif
DR12        -1.02 dB     -17.36 dB     C10 Blanziflor Et Helena – Ave Formosissima.aif
DR13        -1.03 dB     -19.55 dB     C11 Fortuna Imperatrix Mundi – O Fortuna.aif
DR17        -0.86 dB     -23.71 dB     D Paul Hindemith – Symphonic Methamorphosis on Themes by Weber.aif
Number of files:    28
Official DR value:    DR13


  • Artwork By [Cover Illustration] – Mark Krieger
  • Baritone Vocals – Hakan Hagegard
  • Choir – Atlanta Boy Choir
  • Composed By – Carl Orff, Paul Hindemith
  • Conductor – Robert Shaw
  • Engineer [Sound] – Jack Renner
  • Mastered By – Bruce Leek, Richard Donaldson
  • Orchestra, Chorus – Atlanta Symphony Orchestra And Chorus
  • Photography – Tom Hill
  • Producer – Robert Woods
  • Recorded By [Digital Recording And Editing] – Jim Wolvington, Jules Bloomenthal, Sydney Davis
  • Soprano Vocals – Judith Blegen
  • Tenor Vocals – William Brown

Ripping Info


If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
My rips are almost rough rips.

  • Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Super light de-clicking with iZotope, significant clicks manually removing, no de-noising
  • DR-Analisys before converting to Flac
  • Converting Wave -> Flac: Twisted Wave 1.9
  • Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

If you like what i do, please consider that a little donation would be very appreciate.
I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.
Click on the “Donate”-button.

Thank you very much !

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6 archives

PW: LaWally

22 thoughts on “Super HD-Vinyl 192/24 (Telarc) Carl Orff – Carmina Burana

  1. What a beautiful present very high definition.
    I understand the way you works and thanks for that.
    But if you rip this vinyl in 24/96 do you hear the difference ?
    If the ansswer is yes could explain in some words the difference.

    • Some people is not able to hear the difference btw mp3 and CD-Standard….some other btw. CD and HD.
      OK, not every CD>vs>HD is a victory for HD….it depends on many factors: the kind of music, how it was produced, the equipement used, and so on. Is like a good photocamera: sometime is better to have really good 7, 8, 9 MB pix from a semiprof camera than 12, 15 MB from a camera of 200 EUR….so the same in music: better a fantastic CD than a bad HD, better a top CD than a bad vinyl.

      But….if HD music is produced like a state of art, there will never be a CD, even if it is the best CD, that can compare in naturally balanced sound, power, depth, stage.

      Of course, i write here about the best performance possibility for both media. Is like driving and having fun with a BMW 3 from Munich or a BMW 3 from the officine of the house Alpina. Both great, but Alpina is a little bit “greater”.

      Back to music: of course you hear a difference only if you have the proper equipement and if you have a great experience in your life that, however, has to do with music. I always made the experience, in a time who no one was thinking about the big lie called CD, in the first 80s, that vinyl (of course not every vinyl) sound better….therefor i was marked as a lovely crazy boy by my friends….for years i told them of these feelings…feelings that became later reality and in a hurry, as this became mode, some of them said: yes, i always knewed that CD was only a transitory art of reproducing music.

      At the end, if I hear a difference btw. 96/24 and 192/32….i can only say that this would require several sessions on a really really good equipement and, truly, the human brain is tainted to “say”: YES, i hear the difference (because you know that there is a quest)….but in the reality, only few people, in my opinion, would be able to hear it, me included, because of my past life in music and experience in digitalizing music…but this is a very very thin veil.

      Finally it’s way better (if you have the financial possibility) to drive from A to B with a nice Aston Martin or a Ferrari instead of “only” with a 150,000 $ BMW 745…..see the difference this way 🙂

      • Bravo Rach!
        Yes it is certainly the passion that for music which drives you to make these deeply thought out and well experienced comments.
        And thank you for making available to all of us such great music, exquisite performances and in formats that all of us can enjoy.
        Thank you very much.
        ps: Yes, Aston Martin or Ferrari rather than only a BMW745!

  2. Dear Rachmaninov,
    i have the same Equipment with You specially the clearaudio Champion level II with tangent tonarm and the maestro mm, but i can’t hear really the difference between 24/96 and the Original on my Clearaudio. But always thanks a lot for your posts.
    You make a galaxy job.

    • Perhaps, in addition to the lovely, thought-provoking and ‘rich with experience’ comment from Rachmaninov, you may also like to browse this interesting and practical link :
      Besides these, you may like to compare the dynamics (the clarity and integrity of the softest passages to the loudest passages) of the output from the loudspeakers, the airiness (the perceived space surrounding the singer or the instruments) and the organic ‘feel’ of the music and all of these between a HiRes (2496) output against the normal CD (1644) output. Perhaps if you do carry out this observation, you may like to share your own experiences with the community. Thanks.

      • Interesting article, that underlines most of my thoughts. I’m not a sound technician…I’m only a man like other 3 billions, with love to music and HiFi and with good ears. I never noticed a difference btw. 192 and 96 kHz…but there is an audible difference btw. them and 44.1 kHz – a big or a small difference, I don’t know how to quantify, but the difference is there.

        Never made experiments with 16/96 or 24/48 so I cannot say something about.

        • Yes, you are right, Sir.
          I have this view that listening to music transcends the hearing. What I mean by this, is that because of being involved deeply with great music (music that sings to the soul, dances with the soul, embraces the soul and envelopes the soul) the deep recesses of the memory retain the patterns of the natural and real sound of the music and when one listens to a good reproduction like from a HiRes source the mind has to provide less effort to advance the sound to a real sound. It is just my theory. As an example when I listened to the JS Bach’s Solo Cello Sonatas played by Janos on the Mercury Living Presence series (This is 24/176) HiRes digital recording) it was like Janos Starker just playing in front with nothing to distract. In fact the Beethoven Violin Concerto played by David Oistrakh, which you have made available in BOXSET.RU has a similar effect on the serious listener. And because this recording is HiRes 2496, it makes the gap between the real and the recorded that much narrower. Again much thanks to you.

  3. I downloaded and enjoyed the 1975 Previn of ‘Carmina Burana,’ and so wanted to download this as well. But I am having trouble with ’96kCO_CarBu_Tel.part3.rar’ Please, can you help me Rachmaninov? (Thank you for making both available.)

    • I was able to download all RAR files – and I was not disappointed. Indeed it was well worth the wait, this ‘Carmina’ was simply gorgeous; thank you Rachmaninov.

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