The Life and Death of Classical Music: Featuring the 100 Best and 20 Worst Recordings Ever Made

An interesting potted history of the Classical recording industry demonstrating that where profits and the need to shift units becomes the main reason for existing, then quality is bound to descend as well. Lebrecht traces the history of the major companies who were in at the start of recording to their classical nemeses in the 1990's where crossover, sex and celebrity took over from...more

An interesting potted history of the Classical recording industry demonstrating that where profits and the need to shift units becomes the main reason for existing, then quality is bound to descend as well. Lebrecht traces the history of the major companies who were in at the start of recording to their classical nemeses in the 1990's where crossover, sex and celebrity took over from seriousness. It is a depressing tale. Inflated corporate salaries needed mass sales and the Classical market just couldn't cut the mustard, so it was steadily diluted to become consumer friendly. Not that there were not issues prior to that as well. Mass production by competing companies of greats like complete Beethoven Symphony cycles created a glut of the same material being released by different interpreters meaning that lesser trod paths were kept in the wayside. The emergence of Naxos and other cheap label brands was a blessed relief in many ways as they championed unfamiliar repertoire (though the way they did that by giving their performers a single payment for performance and no share in royalties makes you question even them)but they also undermined the mainstream market as well. I am not so sure that this signifies the death of Classical music however. Today we have labels like CPO offering a whole range of hitherto unfamiliar works that the big companies wouldn't touch and, in general, I think we have a far healthier climate, albeit a largely underground one. The second half of the book comprises two listings. Lebrecht's top 100 of all time great recordings and 20 recordings that should never have been made in the first place. Both lists are interesting (and debatable)and complement the earlier history based section of the book rather well. A worthwhile read for all those who wonder about how Il Divo came about.   hide