Classical music under different stewardship


"I read with interest Martin Kettle's review of Norman Lebrecht's new book, Maestros, Masterpieces and Madness, (Vanishing acts, G2, April 3). The impression given by the piece is that the classical-record industry is in its death throes, which is far from the reality. While it's true the major record companies have markedly reduced their classical output, shifting significantly into "crossover" projects, it is the vibrant independent sector (comprising Naxos and many other labels) which is as active and creative as ever in the production of new classical recordings.

Kettle's statement that "production is down to just 100 new discs a year - many in the crossover repertoire ..." is belied by the profusion of new classical releases which come into the market each month. In 2006 Naxos released 238 new classical recordings and new issues from other independent labels easily numbered in excess of 1,000. All these recordings - and the large number of back-catalogue titles - are now available to the public not only through high street stores, but also through retailers and, in many cases, digital downloads or online streaming: consumer accessibility and choice is broader then ever before.

It is undeniable that the past business models of the major record companies have been shown to be unsustainable and have been abandoned, but the inference that the industry is dead is as illogical as it is untrue. Other record companies run successfully on a quite different basis - without the excesses depicted in Lebrecht's book. Far from being "on the verge of disappearing", the classical recording industry is alive and well, but just under different stewardship."


Anthony Anderson managing director Naxos UK writes in today's Guardian:

But now read a view on how Naxos dumbs-down technical standards, how we have to pay the piper, and how we are moving towards music like water.
Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk

Comments

JMW said…
Does anyone really still care about the "majors" anyway? Their astounding lack of imagination has hastened their own entropy. Example: the Cleveland Orchestra hasn't made a recording in nearly a decade, and when they finally get the wherewithall to do so, on DG no less, what do they announce? Beethoven's 9th. The yawns are deafening. I can't remember the last time I bought a major label recording.
Elaine Fine said…
There are many great things about Naxos. They keep their older recordings available, and they use their many arms to explore all sorts of lesser-charted waters of the repertoire, but perhaps the best thing is that their primary function is to make music available to people easily and cheaply.

In the beginning they didn't record super stars. They recorded excellent musicians. They introduced me to Jeno Jando, Ilya Kaler, the Eder Quartet, and a lot of music by "unknown" composers through their Marco Polo label.

Recent popular posts

Does it have integrity and relevance?

A tale of two new audiences

Is classical music obsessed by existential angst?

The Berlin Philharmonic's darkest hour

Why new audiences are deaf to classical music

Folk music dances to a dangerous tune

Nada Brahma - Sound is God

Wagner, Mahler and Shostakovich all sound like film music

Karl Richter in Munich

Your cat is a music therapist