Don't forget many orchestras are issuing their own recordings these days.
From: Don Cox <[log in to unmask]>
To: [log in to unmask]
Sent: Saturday, January 21, 2012 6:41 AM
Subject: Re: [ARSCLIST] Western Art Music in the Current Context, was [ARSCLIST] US record business in the 1950s
On 20/01/2012, David Lewis wrote:
> Most of this music is recorded by the artists themselves, though
> Bridge, New World and even to a small extent Naxos and Bis are players
> in this tiny subset of the music industry; Telarc was doing it, before
> Telarc died.
Also NMC in Britain.
> Although Sony records The Knights, and I think the new
> Nico Muhly disc is on one of UMG's labels, on the whole the majors
> aren't participating, and that's probably not a bad thing.
I don't think the old "majors" are majors any more. Naxos, Hyperion, CPO
and others all release more new recordings than Sony, Universal or EMI.
Naxos now has a huge back catalogue.
In African and Asian music, the majors are nowhere.
> Some things
> they did in the 90s -- like Todd Levin's "Deluxe" and their support of
> composers like Michael Daugherty and Graham Fitkin was simply the
> wrong stuff to exploit, though there is no sign that either Daugherty
> or Fitkin will be going away anytime soon. In Levin's case, his DG
> release killed his career, and there may have been promise there,
> despite the album.
> Hindsight is what we here specialize in, but very recent history is
> hard to adjudge; I think we may be in a state of integrity regarding
> Western Art music up through the mid-1970s but after that is too close
> to call. And nowhere else in music are the pundits and critics more
> anxious to put their finger on the next big thing. Where were we,
> incidentally, in 1912? In a similar impasse, I'd say. Overall, the
> forward development of music has slowed to a crawl in 1970-2012 as
> compared to 1927-1969 and I realized that myself at least a decade
> Nevertheless, I would say that Western Art Music is in far better
> shape than it was when I entered the conservatory in the late 1970s
> and it was clear there was only one path we were expected to take.
> However, I will say that conservatory-based electronic music has
> fallen way behind industrialists, laptoppers and hiphoppers in terms
> of variety and relevance. It is not only a problem of not keeping up
> with technology -- and abandoning new music programs, which most
> colleges and universities have done since the 90s -- but one of
> attitude. Academic electronic music departments cultivate a kind of
> granty cuteness in the face of the rest of the world and its manifold
> developments. THAT will be hard to cure.
> That's more than enough, for now.
> David "Uncle Dave" Lewis
> Lebanon, OH
Thanks for that. An excellent summary - and some more names for my
Are you able to receive the BBC iPlayer on your computer? The weekly
"Hear and Now" program on Radio 3 often includes interesting stuff.
And "Late Junction", three nights a week, plays a very wide selection of
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