# Was I wrong? Has classical music truly reached its endpoint?



## Andolink (Oct 29, 2012)

Is it only me or has anyone else noticed that the actual number of new classical music releases (as opposed to re-releases) from the record companies has slowed to a tiny trickle during the past year or so? 

In the face of all the nay-sayers, I've always been an optimist about the health of the market for classical music but now even I'm worried. 

The only thing good about the dearth of new releases is that it goads me to discover long forgotten gems off the dusty shelves of my CD collection.


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## Albert7 (Nov 16, 2014)

http://www.talkclassical.com/37569-tc-top-recommended-post.html

Nope still has a heartbeat last time I checked.


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## Guest (Jun 26, 2015)

Andolink said:


> Is it only me or has anyone else noticed that the actual number of new classical music releases (as opposed to re-releases) from the record companies has slowed to a tiny trickle during the past year or so?
> 
> In the face of all the nay-sayers, I've always been an optimist about the health of the market for classical music but now even I'm worried.
> 
> The only thing good about the dearth of new releases is that it goads me to discover long forgotten gems off the dusty shelves of my CD collection.


I've pretty much only been buying new releases from new composers this year. And there's way too many that I want to buy but can't afford.


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## Nereffid (Feb 6, 2013)

I see no evidence from the release schedules of the many record labels I buy from that there's been a significant change in recent times. I still can't keep up with the new releases I want.

What are you basing your idea on?


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## D Smith (Sep 13, 2014)

I agree with Nereffid. The number of new (recorded within the past couple years) discs I'd like are in the hundreds. I simply can't afford to buy them nor have time to listen to them all. It's quite possible that 20 years ago this number would have been much higher but I have no evidence to support that.


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## SONNET CLV (May 31, 2014)

Andolink said:


> Is it only me or has anyone else noticed that the actual number of new classical music releases (as opposed to re-releases) from the record companies has slowed to a tiny trickle during the past year or so?


Quite frankly, I have long been rather dismayed at the great number of new releases available, whether it be old familiar music in new artist interpretations or "new" 20th and 21st century music or even pre-20th century music that has never before been recorded. Because, you see, I actually scour through the record catalogs, visiting the websites at places like Presto Classical, Archive Music, H&B Direct, importcds.com ... there are dozens of such firms ... and what dismays me is that, as a record collector and a person of non-limitless means (and as a person with limited home storage area for records and CDs), there is so much out there! So much that I have not yet heard and yet so much long to hear! It's frustrating!

I can handle re-issues. Chances are 50-50 I've heard the work and interpretation and may even have the original release in my collection. Or it's a re-issue of something I didn't have much interest in at the point of original release. As well, many of the re-issues are put out in large box sets, which I favor, and prove rather affordable, especially when one considers what it would have cost to acquire all of the issues in the box as separate entities. I've collected the complete Masaaki Suzuki Bach Cantata recordings as they were released in the multi-set boxes and saved a mint over getting the original releases. Of course, the box set issues are not SACD, but my playback equipment is fairly sophisticated enough that the few grains of added detail I might garner from the SACD is not worth the added expense.

And still ... even if there were _not_ any more new releases of classical music, there would still be enough of the old releases (remember that 50-50 statistic) that I have never accessed that I could be happy for another half century of music listening and collecting.

At least that's how I see it. If you don't believe me, go over to the CD Universe website and check out the recent releases on just the cpo label. ( http://www.cduniverse.com/sresult.a...&page=1&ShowSort=1&style=music&SortOrder=Year ) How much of that music do _you_ know?

And you have yet to check out the Hyperion label, or BIS, or Chandos, or DUX, or Berlin Classics, or ....


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## Blancrocher (Jul 6, 2013)

It's hard to figure out how much of the revenue for classical music represents new recordings (and how much of that represents new repertoire) on a yearly basis. One might have to laboriously consult data provided by individual labels. Anyways, I'd be interested if someone could find a good link.

*p.s.* As an aside, there are new developments that don't fit into old ideas about the health of the industry, such as high-quality streaming provided by major orchestras.


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## Sonata (Aug 7, 2010)

Even if it has slowed down this year (which I've no idea; I don't keep track) one year is not a long time frame in the recording industry to give a fair impression. I think you'd need a sample of at least 3-5 years really.


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## Albert7 (Nov 16, 2014)

If you think that classical recordings have dried up please PayPal me $3500 and I promise that I can deliver you a zillion new classical releases straight off iTunes easily.

In other words, I am going broke finding new recordings...


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## KenOC (Mar 7, 2011)

The classical music recording *industry *is certainly on its last legs, for some quite obvious reasons. Here's a recent article that suggests why new recordings may be rare.

http://slippedisc.com/2015/04/classical-record-sales-just-keep-on-falling/

The industry is also being hurt by the ongoing change in the way people listen to music. CM accounted for 2.8% of albums and album downloads in 2013, but only 0.5% of digital streams.


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## Albert7 (Nov 16, 2014)

KenOC said:


> The classical music recording *industry *is certainly on its last legs, for some quite obvious reasons. Here's a recent article that suggests why new recordings may be rare.
> 
> http://slippedisc.com/2015/04/classical-record-sales-just-keep-on-falling/
> 
> The industry is also being hurt by the ongoing change in the way people listen to music. CM accounted for 2.8% of albums and album downloads in 2013, but only 0.5% of digital streams.


Interestingly enough I swear that I have seen more DG and small label releases this summer than last winter. People are busy recordings and I suspect that the U.S. Market is weaker than the European market.


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## Lucifer Saudade (May 19, 2015)

At the end of the day, probably not much different from any other niche music market. Besides, there's likely the usual ups and downs.


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## Guest (Jun 26, 2015)

KenOC said:


> The classical music recording *industry *is certainly on its last legs, for some quite obvious reasons. Here's a recent article that suggests why new recordings may be rare.
> 
> http://slippedisc.com/2015/04/classical-record-sales-just-keep-on-falling/
> 
> The industry is also being hurt by the ongoing change in the way people listen to music. CM accounted for 2.8% of albums and album downloads in 2013, but only 0.5% of digital streams.


Sure, it's not as lucrative as pop music, but I don't think we can call it a "last leg" either. Some of the best labels around are extremely new labels, and more and more composers are finding outlets for getting their music recorded than ever before. The only way I can imagine things going downhill is if you're one of those people whose favorite composers AND favorite performers are all long dead.


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## Nereffid (Feb 6, 2013)

KenOC said:


> The classical music recording *industry *is certainly on its last legs, for some quite obvious reasons. Here's a recent article that suggests why new recordings may be rare.
> 
> http://slippedisc.com/2015/04/classical-record-sales-just-keep-on-falling/
> 
> The industry is also being hurt by the ongoing change in the way people listen to music. CM accounted for 2.8% of albums and album downloads in 2013, but only 0.5% of digital streams.


Something to bear in mind is that we have two independent pieces of information here. First, the best-selling classical album in the US has less than 400 sales in a week. Second, 2.8% of album sales are classical.
Of course we can't just combine the two facts and conclude that fewer than 15,000 albums of all genres are sold in the US each week! The figure is in fact closer to 4 million. So divide _that_ by 2.8% and you get over 100,000 classical albums per week, which implies an _extremely_ long tail to classical sales.


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## KenOC (Mar 7, 2011)

Nereffid said:


> Something to bear in mind is that we have two independent pieces of information here. First, the best-selling classical album in the US has less than 400 sales in a week. Second, 2.8% of album sales are classical.
> Of course we can't just combine the two facts and conclude that fewer than 15,000 albums of all genres are sold in the US each week! The figure is in fact closer to 4 million. So divide _that_ by 2.8% and you get over 100,000 classical albums per week, which implies an _extremely_ long tail to classical sales.


Agree. Still, the difficulty of selling an economical quantity of any one album would tend to make publishing in the classical sector an unattractive prospect. Maybe my active catalog has 1,000 albums, but if I'm losing money on most then I'm not a happy capitalist.


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## Albert7 (Nov 16, 2014)

KenOC said:


> Agree. Still, the difficulty of selling an economical quantity of any one album would tend to make publishing in the classical sector an unattractive prospect. Maybe my active catalog has 1,000 albums, but if I'm losing money on most then I'm not a happy capitalist.


Woohoo I am not a capitalist so my collection doesn't mind losing its value LOL.


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## Radames (Feb 27, 2013)

I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need? I mainly buy recordings of obscure works. I just got Malipiero Sinfonia degli eroi / Dai sepolcri / Ditirambo tragico. Never recorded works.


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## Guest (Jun 26, 2015)

Radames said:


> I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need? I mainly buy recordings of obscure works. I just got Malipiero Sinfonia degli eroi / Dai sepolcri / Ditirambo tragico. Never recorded works.


Most likely, they already own everything they think they'll be capable of liking.


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## Nereffid (Feb 6, 2013)

KenOC said:


> Agree. Still, the difficulty of selling an economical quantity of any one album would tend to make publishing in the classical sector an unattractive prospect. Maybe my active catalog has 1,000 albums, but if I'm losing money on most then I'm not a happy capitalist.


Yes... though when you look at the more successful labels these days (independents, mostly), it's clear they're doing it more for love than money. Plus they're in it for the long haul. I can't imagine projects like Hyperion's Romantic piano concerto series, or BIS's Sibelius edition, were ever conceived as instant money-spinners but as legacy projects. I guess that in general the labels are confident that over time things make their money back (or at worst, the successes compensate for the failures).


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## Andolink (Oct 29, 2012)

Perhaps my gripe is basically that so much of what is being released is not just re-releases but also almost entirely the standard repertoire "warhorses" or just bland and/or uninteresting stuff. (Yes, I understand how totally subjective these complaints are.)


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## Albert7 (Nov 16, 2014)

Andolink said:


> Perhaps my gripe is basically that so much of what is being released is not just re-releases but also almost entirely the standard repertoire "warhorses" or just bland and/or uninteresting stuff. (Yes, I understand how totally subjective these complaints are.)


No worries, if you look Kairos and other small labels are pumping out new stuff like crazy.


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## StlukesguildOhio (Dec 25, 2006)

Radames- I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need?

I purchase multiple recordings of many favorite works because I recognize that no one performance is likely to be the last word on Bach or Beethoven or Mahler. I also purchase certain recordings because I am interested in a given conductor, performer, or singer.

I mainly buy recordings of obscure works. I just got Malipiero Sinfonia degli eroi / Dai sepolcri / Ditirambo tragico. Never recorded works.

Congratulations. "Different strokes..." and all that. I have a slew of recordings of Mozart's operas... it hasn't kept me from also checking out more obscure work by Classical-era, Baroque, Renaissance, and Medieval composers... and the occasional contemporary.

Most likely, they already own everything they think they'll be capable of liking.

And they might be right. "They" are probably the best judge of what "they" might likely or dislike.


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## Andolink (Oct 29, 2012)

Albert7 said:


> No worries, if you look Kairos and other small labels are pumping out new stuff like crazy.


Of course there are exceptions to the trend I'm describing, Kairos being one; in fact the small independent labels have been my life-blood for music for decades. But it's precisely the output of these companies that is seeming to be getting less and less interesting and who seem to be greatly expanding their volume of re-releases.


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## ArtMusic (Jan 5, 2013)

There are many new releases of recorded music that have been forgotten for centuries, mostly from 16th to 18th centuries. This is a great thing. So I can't agree that classical releases is dying.


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## Albert7 (Nov 16, 2014)

Radames said:


> I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need? I mainly buy recordings of obscure works. I just got Malipiero Sinfonia degli eroi / Dai sepolcri / Ditirambo tragico. Never recorded works.


We can never have enough versions. Different interpretations for different folks.


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## Guest (Jun 27, 2015)

StlukesguildOhio said:


> Most likely, they already own everything they think they'll be capable of liking.
> 
> And they might be right. "They" are probably the best judge of what "they" might likely or dislike.


Did I ever state otherwise?


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## ComposerOfAvantGarde (Dec 2, 2011)

Interesting! At a shop I frequent which specialises in classical music CDs there is always a constantly changing display of new releases. However, it could be the case that musicians these days are more concerned with live performances than recordings.


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## Woodduck (Mar 17, 2014)

Radames: _I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need?_ 

*nathanb:* *Most likely, they already own everything they think they'll be capable of liking. *_
_
StlukesguilOhio:_ "They" are probably the best judge of what "they" might like or dislike. 
_


nathanb said:


> Did I ever state otherwise?


Let me put it another way, since you want to pretend not to understand StlukesguildOhio. _You have no idea what "they" are "likely" to think themselves "capable" of. And it is a thing that needs to concern only "them."_

You don't imagine that such snide little jabs escape people's notice, do you? Of course you don't. Just aim them at an anonymous "they," no one will want to be "them" and complain about the insinuation, and your game is safe. But you should know that some of "us" find such games immature, tiresome, and not contributory to a spirit of mutual respect. You are as keenly aware as anyone, I suspect, of the acrimony and friction that has often broken out on the forum when people whose tastes incline toward contemporary music have felt that "their" music doesn't get enough respect. If you're interested in keeping such friction to a minimum, I would suggest not feeding into it by directing gratuitous insults at those whose tastes you deem too traditional, no matter how contemptuous you may privately be of "them" and their "capabilities" as you define them.

Does that make sense to you?


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## Morimur (Jan 23, 2014)

Woodduck said:


> Radames: _I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need?_
> 
> *nathanb:* *Most likely, they already own everything they think they'll be capable of liking. *_
> _
> ...


Respect? Does that actually exist on the interwebs? I don't even think it exists in the real world anymore.


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## Albert7 (Nov 16, 2014)

Andolink said:


> Of course there are exceptions to the trend I'm describing, Kairos being one; in fact the small independent labels have been my life-blood for music for decades. But it's precisely the output of these companies that is seeming to be getting less and less interesting and who seem to be greatly expanding their volume of re-releases.


Well... here's an example of very new stuff being recorded even from older composers...


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## Woodduck (Mar 17, 2014)

Morimur said:


> Respect? Does that actually exist on the interwebs? I don't even think it exists in the real world anymore.


I've grown old. Leave me something to hope for.


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## Grizzled Ghost (Jun 10, 2015)

I can't speak for other labels, but I follow BIS a bit. They seem to have whittled down their business model so that they make a living. Artists don't get paid a lot, composers don't get paid a lot, management doesn't get paid a lot, recording engineers don't get paid a lot, the owner handles the inventory and shipping himself, etc − but they get by. 

I don't think classical music is dying. Some companies are dying; but others are adapting.


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## KenOC (Mar 7, 2011)

It's an interesting conundrum. The big labels have largely stopped signing major stars and their new classical issues seem to have slowed to a trickle. Classical album sales are a miniscule slice of the pie, and even smaller on the new kid on the block, streaming. Orchestras are suffering and musicians are taking major cuts in salaries and benefits. People are staying away from symphony performances in droves, and major donors are looking elsewhere for places to share their largesse.

And yet...we are faced with a huge selection of recorded music at prices far lower than I've seen in my lifetime, often in great performances and superb sound.

What's up?


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## Andolink (Oct 29, 2012)

KenOC said:


> And yet...we are faced with a huge selection of recorded music at prices far lower than I've seen in my lifetime, often in great performances and superb sound.
> 
> What's up?


This has always, until the past year or so, been my opinion too. But most of the interesting independent labels have seemed lately to devote an ever greater share of their production to re-releases and to new releases of the more mainstream "tried and true" repertoire.


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## Nereffid (Feb 6, 2013)

Andolink said:


> This has always, until the past year or so, been my opinion too. But most of the interesting independent labels have seemed lately to devote an ever greater share of their production to re-releases and to new releases of the more mainstream "tried and true" repertoire.


I'm not sure you're right on the re-releases, but I think the independents are probably doing more mainstream repertoire all right.

But it's a question of interpretation. It could be regarded as a sign that the independents are increasingly confident that their recordings of mainstream repertoire have nothing to fear from comparison with long-established rivals on the majors.

Or a question of personal perspective. You might feel disappointed in this change, but for my own part, I'm quite pleased to see top-notch mainstream material from my favourite labels right now, because I like buying new recordings but also want to ensure I stay in touch with the standards.


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## Dim7 (Apr 24, 2009)

Woodduck said:


> I've grown old.


Lucky you. I was BORN old.


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## Morimur (Jan 23, 2014)

I am not sure what the reality is. I am a great fan of new, contemporary classical music and however financially strapped these labels may be, there's an ungodly amount of new music coming out -- it's impossible to keep up.


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## Guest (Jun 27, 2015)

Woodduck said:


> Radames: _I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need?_
> 
> *nathanb:* *Most likely, they already own everything they think they'll be capable of liking. *_
> _
> ...


Welp, I think it's safe to say you read _way_ into that one, Woody.


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## Guest (Jun 27, 2015)

Dim7 said:


> Lucky you. I was BORN old.


At least you were BORN


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## Guest (Jun 27, 2015)

dogen said:


> At least you were BORN


At least you WERE


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## Albert7 (Nov 16, 2014)

Classical music recording is still going on pretty strong. Here is an example from Naxos' latest list.

http://www.naxos.com/newreleases.asp

Here you have the following:

The Berlin Gamba Book
R. Danielpour
S. Gubaidulina (guitar stuff which is pretty offbeat)
P. Hindemith
K. Leighton
B. Martinu
B. Pigovat
A. Pinho Vargas
Q. Porter
R . Schumann
J. Sibelius
K.S. Sorabji
Shuya Xi

Quite the mad variety... a mix of the familiar and the relatively unknown.

So definitely there are lots more left in the classical world to be recorded for sure.


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## Radames (Feb 27, 2013)

Albert7 said:


> We can never have enough versions. Different interpretations for different folks.


Interpretations are a lot more similar now than in the old days I think. I'm just not that interested in any new Beethoven cycles. How much different can one be than the 100 other versions? There must be literally 100 Beethoven cycles in the stereo era.


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## Bulldog (Nov 21, 2013)

Radames said:


> I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need?


I focus on what I want to acquire. What other folks buy is none of my business.


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## Woodduck (Mar 17, 2014)

nathanb said:


> Welp, I think it's safe to say you read _way_ into that one, Woody.


I'm not the only one.

I tend to assume that people's words mean what they say. If yours don't, best publish a disclaimer.


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## Woodduck (Mar 17, 2014)

Dim7 said:


> Lucky you. I was BORN old.


Can you live in retrograde? I see you've already tried diminution.


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## Guest (Jun 28, 2015)

Woodduck said:


> I'm not the only one.
> 
> I tend to assume that people's words mean what they say. If yours don't, best publish a disclaimer.


My words meant exactly what they said. Stlukesguildohio then proceeded to say that I was exactly right. It was only you that extrapolated them into an insult, though the former had a rather suspicious tone about his response as well.


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## Woodduck (Mar 17, 2014)

nathanb said:


> My words meant exactly what they said. Stlukesguildohio then proceeded to say that I was exactly right. It was only you that extrapolated them into an insult, though the former had a rather suspicious tone about his response as well.


So you actually _do_ believe that it's most likely that people who buy new performances of standard classics think that they already own all the music they will be capable of liking? Those were your words.

And you don't think that's presumptuous, condescending, and insulting to those people?

There could be a number of reasons for buying new versions of music one already has, reasons having nothing to do with doubting one's ability to enjoy the unfamiliar.


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## Becca (Feb 5, 2015)

Radames said:


> I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need? I mainly buy recordings of obscure works. I just got Malipiero Sinfonia degli eroi / Dai sepolcri / Ditirambo tragico. Never recorded works.


Why do people often go to concerts which play the same pieces that they've heard before? Laziness perhaps? Or just may be that they think that they will hear something different in it this time?


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## Guest (Jun 28, 2015)

Woodduck said:


> So you actually _do_ believe that it's most likely that people who buy new performances of standard classics think that they already own all the music they will be capable of liking? Those were your words. And you don't think that's presumptuous, condescending, and insulting to those people?


Depends on where they fall in the spectrum. The person who raised the original point seemed to be referring to people that pretty much only think "new performances of standard old music" when they think of "new recordings". So in that case, yes. In the majority of cases, of course, people just really love a few select works and have the extra money to burn.


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## Woodduck (Mar 17, 2014)

nathanb said:


> Depends on where they fall in the spectrum. The person who raised the original point seemed to be referring to people that pretty much only think "new performances of standard old music" when they think of "new recordings". So in that case, yes. In the majority of cases, of course, people just really love a few select works and have the extra money to burn.


I think you assume too much about a "majority of cases." What Radames said was _"I can't see why people want to keep buying new versions of the standard pieces. How many Beethoven, Mahler and Tchaikovsky cycles do we need? I mainly buy recordings of obscure works. _" I don't think he can speak for a "we" any more than you can speak for a "they."

As it happens, I look more for unfamiliar music when I buy, but then I've never had much interest in owning multiple versions of works (except for a few special favorites) and have never pursued the best in audio quality as many buyers of recordings do. There are also categories of music in which the performer is all-important, particularly opera and other vocal music.

Those would all be very common reasons why Radames's "we" and your "they" would want new recordings of favorite classics. Those reasons wouldn't imply anything about people's acquisition of unfamiliar works, which I'm sure a great many of them also do. Your ultraconservative buyers who are afraid to try anything new and just keep buying Beethoven symphonies surely exist, but I'm pretty sure that they're a minority of classical music buyers.


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## ArtMusic (Jan 5, 2013)

nathanb said:


> Depends on where they fall in the spectrum. The person who raised the original point seemed to be referring to people that pretty much only think "new performances of standard old music" when they think of "new recordings". So in that case, yes. In the majority of cases, of course, people just really love a few select works and have the extra money to burn.


If listeners want a new version of Bach's Brandenburg Concertos, or Mozart's symphonies, natural economics will decide whether record companies will sign up orchestras to record. Pure and simple. People may well love a few select works - these are great pieces of music. Pure and simple.


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## ComposerOfAvantGarde (Dec 2, 2011)

Woodduck said:


> Can you live in retrograde? I see you've already tried diminution.


Well, his real name is Benjamin Button. I met Dim7 back when he was a very old man.


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## ComposerOfAvantGarde (Dec 2, 2011)

Morimur said:


> I am not sure what the reality is. I am a great fan of new, contemporary classical music and however financially strapped these labels may be, there's an ungodly amount of new music coming out -- it's impossible to keep up.


I'm with you, brother


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## Dim7 (Apr 24, 2009)

Woodduck said:


> Can you live in retrograde? I see you've already tried diminution.


Yes. As some of you may have already noted, my posts are getting more and more immature with time. When I'll get pass my rebellious adolescence, you can expect some humour "in the style of Mozart."


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## Albert7 (Nov 16, 2014)

I like to hear different interpretations of the same works. No issue with that.

Jazz music is a lot easier to collect in that regards.


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## GhenghisKhan (Dec 25, 2014)

Dim7 said:


> Lucky you. I was BORN old.


Benjamin button is that you?


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## millionrainbows (Jun 23, 2012)

Andolink said:


> Is it only me or has anyone else noticed that the actual number of new classical music releases (as opposed to re-releases) from the record companies has slowed to a tiny trickle during the past year or so?
> 
> In the face of all the nay-sayers, I've always been an optimist about the health of the market for classical music but now even I'm worried.
> 
> The only thing good about the dearth of new releases is that it goads me to discover long forgotten gems off the dusty shelves of my CD collection.


You said "new classical releases?" It may be that the record companies can release their back catalogues cheaper than they can make new recordings (symphony orchestras are very expensive).

Have you noticed how many great re-issues of classical have been coming out, at great prices?

After all, classical is the one genre where the works never get old. An old recording of a Beethoven symphony can be just as good as a new one. In some cases, better, and more revered.


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## millionrainbows (Jun 23, 2012)

KenOC said:


> The classical music recording *industry *is certainly on its last legs, for some quite obvious reasons. Here's a recent article that suggests why new recordings may be rare.
> 
> http://slippedisc.com/2015/04/classical-record-sales-just-keep-on-falling/
> 
> The industry is also being hurt by the ongoing change in the way people listen to music. CM accounted for 2.8% of albums and album downloads in 2013, but only 0.5% of digital streams.


I see the veracity in that. People listen to CDs in cars, and probably don't have the attention or time to devote to a Mahler symphony which lasts 2 hours. Also the CD may be on its way out, but I see this, right now, as a "golden age" for classical CD aficionados, with all the re-releases of newly mastered and re-packaged classical. The Sony releases come to mind, and others...


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## Guest (Jun 29, 2015)

Spookily, I had a Mahler symphony on in the car today. Some folk say he wrote a good tune, but if he was so talented why didn't he take road noise into account? I could barely hear half of it.


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## Andolink (Oct 29, 2012)

..._but I see this, right now, as a "golden age" for classical CD aficionados, with all the re-releases of newly mastered and re-packaged classical_....

This is exactly what worries me. The endless recycling of old recordings vs. the tiny trickle of new releases bodes very poorly for the future of this music. It may be a "Golden Age" for aficionados of vintage classical recordings but it also reveals that classical music is in a moribund state, does it not?


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## Woodduck (Mar 17, 2014)

dogen said:


> Spookily, I had a Mahler symphony on in the car today. Some folk say he wrote a good tune, but if he was so talented why didn't he take road noise into account? I could barely hear half of it.


Road noise? He didn't even take my refrigerator into account.


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## Albert7 (Nov 16, 2014)

Woodduck said:


> Road noise? He didn't even take my refrigerator into account.


My stomach just groaned after hearing this.


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## Grizzled Ghost (Jun 10, 2015)

Some composers must have lived in a fantasy world, and some conductors and record labels are over-indulgent. I have mixed feelings about recordings with very wide dynamic ranges, even if they are true to the score.


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