The Gramophone Editor Strikes Back!

[Thropplenoggin]

A new post in the Gramophone forum prompted an immediate response from the editor, Martin Cullingford.

http://www.gramophone.co.uk/forum/general-discussion/is-gramophone-magazine-out-of-date

I have to say, I probably find more value in Gramophone's reviews than that of BBC MM, which always seems a bit 'softly softly'. In fact, BBC MM is quite flimsy, even when it goes 'in depth', such as the recent piece on Haydn's London Symphonies. I'd have appreciated more text and less pictures.

I agree with Nick - oops, sorry - JLW () regarding Gramophones resurgence. I'd be quite happy if they brought the cover disc back, too.

[jayne lee wilson]

Shouldn't be here - loads to do - but bear in mind the brilliant Gramophone archive, now a part of various subscription packages, you can get lost in there for hours and the search (despite some criticism on here) is fine. G. is now a great read most months, but if you don't take it it's no good leafing through for 5 minutes in a newsagent and tutting...

[arthroceph]

Yes, well, for such an established (i.e. traditional) magazine, it's rather an easy accusation to make.

Mr. Cullingford's reply is also a template-based corporate reply.

So, I say, query and answer match each other in terms of tedious inanity.

I'd second JLW, and I'd say people with their feet on the ground, know that it's for their archive you'd go to them for. Even in the mid eighties - when they were masters of all they surveyed - I would still go through their past issues in awe, when I could get my hands on them.

The comment "Excellence still comes from the likes of DG and Sony - though they will know their position in the affection of collectors today is only as good as their latest new releases." is further drivel (people love to say "you're only as good as your last sale" and such). In this field, it's the older recordings that have stood the test of time (and the reviews that recognised them early on) where the real value lies.

[Alain Maréchal]

I started to read Gramophone in March 1963. Recently, after a rather preoccupied few months, I looked for a copy and discovered that my subscription had expired and I hadn't received it since last summer. On reflection i realised that having done without it for that long, and having not missed it, I didn't need it. I had observed previously that it was piling up unread by the side of my armchair: I'm not sure which of us has changed, but for me it has served its purpose. Thank you G, but with sorrow, goodnight.

[jayne lee wilson]

I started to read Gramophone in March 1963. Recently, after a rather preoccupied few months, I looked for a copy and discovered that my subscription had expired and I hadn't received it since last summer. On reflection i realised that having done without it for that long, and having not missed it, I didn't need it. I had observed previously that it was piling up unread by the side of my armchair: I'm not sure which of us has changed, but for me it has served its purpose. Thank you G, but with sorrow, goodnight.

A comment on Gramophone, or an autobiographical note...?

But the archive, the archive, the... oh, nevermind.

[teamsaint]

A comment on Gramophone, or an autobiographical note...?

But the archive, the archive, the... oh, nevermind.

Didn't have you down as one to give up the chase so easily, Jayne.

Bet its all on Ebay by now anyway though....

[Alain Maréchal]

A comment on Gramophone, or an autobiographical note...?

But the archive, the archive, the... oh, nevermind.

Both. To which do you take exception?

I rarely made use of the archive.

[Karafan]

I am with you Jayne, on the Archive-front. It is a wonderful resource and quite indispensible, especially as the majority of the recordings I love and buy are re-issues.

[Alain Maréchal]

I am with you Jayne, on the Archive-front. It is a wonderful resource and quite indispensible, especially as the majority of the recordings I love and buy are re-issues.

I remain unconvinced of the value of the archive. My purchases are mostly of reissues, but if, for example, a long-unavailable recording of a Stravinsky ballet conducted in Paris by Markevich were to reappear, the original review would probably have no effect whatsoever on my decision to buy it.

[jayne lee wilson]

I remain unconvinced of the value of the archive. My purchases are mostly of reissues, but if, for example, a long-unavailable recording of a Stravinsky ballet conducted in Paris by Markevich were to reappear, the original review would probably have no effect whatsoever on my decision to buy it.

But what about music you don't know or don't know well? I began listening to Berwald recently, and it was wonderful to delve among the original reviews by Robert Layton of several different new sets and reissues, as a guide to where to start but also as a pleasure in itself with such knowledgable, elegant and articulate writing. It's not usually a good idea to just "buy the shop" (even if you could afford it), so after you've listened to some recordings the G. archive can give you a uniquely long perspective on almost any part of the repertoire (there are many links provided). Again, if you don't care for the sound of a given reissue it's very useful (and great fun) to see what the original reviews of the vinyl and early CDs had to say... not to mention Sounds in Retrospect or Collection.... there's so much you can do!

[Alain Maréchal]

But what about music you don't know or don't know well? I began listening to Berwald recently, and it was wonderful to delve among the original reviews by Robert Layton of several different new sets and reissues, as a guide to where to start but also as a pleasure in itself with such knowledgable, elegant and articulate writing. It's not usually a good idea to just "buy the shop" (even if you could afford it), so after you've listened to some recordings the G. archive can give you a uniquely long perspective on almost any part of the repertoire (there are many links provided). Again, if you don't care for the sound of a given reissue it's very useful (and great fun) to see what the original reviews of the vinyl and early CDs had to say... not to mention Sounds in Retrospect or Collection.... there's so much you can do!

I imagine age has something to do with it (you may have noticed I started reading G about 50 years ago) but I have been listening to records for about 60 years and by now I have more or less heard most of the performers whose recordings I am likely to buy. For example: my own recommendations for Berwald symphonies are Markevich (as in so much music), Schmidt-Isserstedt and Ehrling (the earlier recordings now on Bluebell). Of the other main contenders I have never listened to Jarvi's or Dausgaard's, but since most of their recordings have failed to convince me I shall give them a miss, Bjorlin is lacklustre, and although I have never heard them I sense I would probably enjoy Goodman's. For the piano or chamber works Eva Knardahl has a glorious energy (and fun). There's so much you can do relying on your own resources without reviews!

I have just spotted a Dorati recording on my shelves and now realise that I shall have to do some searching (and listening) at once, and since its already the small hours its clearly going to be a late night. I shall be in trouble with Madame M.