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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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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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Discussion Starter · #23 ·
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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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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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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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.

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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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.


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? 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 here.
Respect? Does that actually exist on the interwebs? I don't even think it exists in the real world anymore.
 
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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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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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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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Discussion Starter · #34 ·
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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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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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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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.


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