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aoqd22 said:
Suppose its just possible Decca have made the nice people at PentaTone an offer they cannot refuse and its PentaTone itself that is becoming part of the Universal Group ... ?
That is a scary thought.
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Post by Sigfred November 5, 2007 (32 of 154)
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Arthur said:
I won't be following her recording career any longer unless she is released on SACD. I can count on one hand the number of red book titles I've bought in the last year, and I don't anticipate that changing any time soon.
(Before someone complains about how shallow I'm being, let me say, that when a review or a sampling with a friend truly excites me about a performance (which happens once every two or three months), I'll buy it whatever the format. But when it comes to taking a chance on something, I have limited resources and an SACD wish list of almost 200 titles, so I fully believe I can keep finding new things to explore and enjoy without supporting majors who have abandoned us!
There was registered 65 new SACD on this site in October and I cannot afford to buy them all, so I for sure do not feel cheap nor shallow just because I mostly only buy MCH SACD. If others feel otherwise I am not too proud not to accept donations :D
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Post by Arthur November 5, 2007 (33 of 154)
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Sigfred said:
There was registered 65 new SACD on this site in October and I cannot afford to buy them all, so I for sure do not feel cheap nor shallow just because I mostly only buy MCH SACD. If others feel otherwise I am not too proud not to accept donations :D
I was attacked for saying something similar a year or so back, so your kind remarks are appreciated.
Thank you!
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Arthur said:
I was attacked for saying something similar a year or so back, so your kind remarks are appreciated.
Thank you!
I have something like 507 SACDs most are multi-channel. I have NOT purchased a rbcd for about 5yrs. Not out of pique, just out of self preservation. Resources are limited. The multi-channel experience for me is sooooo superior to stereo, that rbcd in addition to its low resolution, typically congested sound with several other flaws I won't take time to mention, simply isn't competitive. Julia MAY prove the exception for me but I am extremely sad that she left PentaTone. I will certainly not rush out immediately to buy everything she records for Decca the way I used to do the PentaTone recordings.
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Post by Edvin November 5, 2007 (35 of 154)
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This is ridiculous. If you truly love music the format on which it is presented is a minor question. Do I want to be without the Beethoven violin concerto from Isabelle Faust and Vadim Repin? Absolutely not!!! I am interested in music and musical performance. So many sacd´s are musically less interesting. Music first, sound second.
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Post by Arthur November 5, 2007 (36 of 154)
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Edvin said:
This is ridiculous. If you truly love music the format on which it is presented is a minor question. Do I want to be without the Beethoven violin concerto from Isabelle Faust and Vadim Repin? Absolutely not!!! I am interested in music and musical performance. So many sacd´s are musically less interesting. Music first, sound second.
I used to agree with you. But I've come to disagree on a fundamental level: music is primarily a "sound experience". I get no joy out of reading a score.
CDs seemed to represent a step up for me because they eliminated the annoying pops and clicks that interfered with the sound experience (and hence the musical one) on LPs. But alas I started hearing a high pitched buzzing whenever I listened. I thought my hearing was going bad, but the buzzing disappeared at live concerts.
Serious listening for more than 15 minutes has frankly become physically painful for me.
SACD makes a huge difference. I love surround, but it's not necessary. I was thrilled to have the classic Universal reissues from Japan such as the incredible Bernstein Mozart 15th Concerto or the wonderful Reiner recordings on BMG. My greatest wish is that more "great performances" would be made available. My second wish would be that today's leading artists would embrace the technology. Alas, I'm afraid neither is likely to happen!
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Post by ramesh November 5, 2007 (37 of 154)
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Fischer should've taken heed of the 'marketing' Decca did for Jensen's disc of the Four Season. Colour photographs of flimsy dresses revealing her physical assets. And who marketed the Finnish violinist with two ICBMS concealed on her person?
On the other hand, I heard that Decca solicited financial 'contributions' from the Takacs before they would even record their late Beethoven quartets.
I smell the distinct possibility Fischer wanted a foothold in Punyversal, so that when DG start to tire of photographing Mutter losing her footgear, her assets would be better accommodated in the DG stable.
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Maybe she became too big to handle for an small label.
recording format may not be her foremost concern. She or her agent may have thought Decca would provide her better distribution for record-selling and better environment for music-making. Did they make right decision? We'll see.
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Post by Edvin November 6, 2007 (39 of 154)
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Arthur said:
I used to agree with you. But I've come to disagree on a fundamental level: music is primarily a "sound experience". I get no joy out of reading a score.
CDs seemed to represent a step up for me because they eliminated the annoying pops and clicks that interfered with the sound experience (and hence the musical one) on LPs. But alas I started hearing a high pitched buzzing whenever I listened. I thought my hearing was going bad, but the buzzing disappeared at live concerts.
Serious listening for more than 15 minutes has frankly become physically painful for me.
SACD makes a huge difference. I love surround, but it's not necessary. I was thrilled to have the classic Universal reissues from Japan such as the incredible Bernstein Mozart 15th Concerto or the wonderful Reiner recordings on BMG. My greatest wish is that more "great performances" would be made available. My second wish would be that today's leading artists would embrace the technology. Alas, I'm afraid neither is likely to happen!
I agree. A score is no sound experience and I never said it was.
That buzz of yours is very strange and I don´t think it has anything to do with the cd format as such. My guess is that it is in your mind. If you were to listen with your eyes shut, could you then separate the rbcd´s from the sacd´s?
I too would love to have everything I want on sacd, but the fact remains that the vast majority of great recordings are on rbcd only. I don´t need Kreizberg´s weak Dvorak when I have Kertesz and Walter.
Julia Fischer on Decca...I don´t mind at all. Imagine hearing her with the Vienna phil!
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Post by wehecht November 6, 2007 (40 of 154)
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Edvin said:
I don´t need Kreizberg´s weak Dvorak when I have Kertesz and Walter.
Julia Fischer on Decca...I don´t mind at all. Imagine hearing her with the Vienna phil!
While I don't agree with Edvin's characterization of Kreizberg's Dvorak, it's true he's no Kertesz. But that is precisely the point. If Decca doesn't issue Fischer's future recordings on sacd what's my motivivation to buy them when I already own multiple rbcd recordings of the standard violin repertoire by great artists of the past and present?
I think that Fischer is an outstanding talent, and I've taken pains to hear her in concert on several occasions. Also I've bought every one of her Pentatone recordings, but except for the Tchaikovsky and Khachaturian concertos, the first of which is the finest I've ever heard and the latter not being otherwise represented in my collection, none of them is indispensable in light of other alternatives already on my shelves. As a general rule only the promise of sound reproduction more closely approximating what I hear in the concert hall justifies my repeated purchases of the core repertoire. For this reason in recent years my rbcd purchases have been limited to less common repertoire, such as most of the Lyrita catalog as it has emerged.
On another note: if it were not for independent labels like BIS, Pentatone, Channel, Hyperion, Albany, Ondine, 2L, et al, right now there wouldn't be a classical recording industry worth talking about. We owe each of these labels and the dedicated music lovers behind them a great debt for their perserverance. A loss for any of them is a loss for all collectors of classical recordings, and Julia Fischer's defection to Decca is a loss indeed.
Bill
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