Michael Oliver and John Steane were (and Richard Osborne still is) superb commentators on Music and performance, their relaxed learning easily persuading the listener that their selections were at the very least worthy of inclusion in any self-respecting record collection. But they had an easier job than "the current crop": there were fewer recordings to review, what was available and what deleted was more easily catalogued and there weren't as many HIPP versions to consider alongside the Klemperers and Amadeuses.
I think reviewers today acknowledge that, if professional Musicians perform and record a piece, then they must feel that they have something valid to say about it, and with so many alternatives available, it is unfair for the reviewer to plump for any single recording. They have become more "diplomatic", to the extent that (particularly when they get together for a group review) they can seem to be suggesting that every available disc is worth having! Which may be true, but makes the very basis of BaL unworkable (and often ends up with my not buying any of the discs mentioned).
It would perhaps be more useful nowadays if reviewers pointed out the ones to avoid!
I think reviewers today acknowledge that, if professional Musicians perform and record a piece, then they must feel that they have something valid to say about it, and with so many alternatives available, it is unfair for the reviewer to plump for any single recording. They have become more "diplomatic", to the extent that (particularly when they get together for a group review) they can seem to be suggesting that every available disc is worth having! Which may be true, but makes the very basis of BaL unworkable (and often ends up with my not buying any of the discs mentioned).
It would perhaps be more useful nowadays if reviewers pointed out the ones to avoid!
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