Recently I was going through several of my CD’s looking for a recording of a certain harp piece that I am working on.
Here’s one you may not have seen with many recordings I haven’t seen elsewhere.
It is full of Victorian pieces, very lovely. It includes pieces by Felix Godefroid, Charles Oberthur and John Balsir Chatterton as well as Bovio and Lorenzi.
I agree, we have a broad and rich repertoire. The Faure is a masterpiece, so it is okay to hear it again if it is well played. I may record it, because I know it. We all study it, so it is inevitable. But we definitely, at this time, have way too many recordings of the same kinds of pieces, and way too few of even standard repertoire. And certain recordings have not been re-issued, like Zabaleta’s recording of the Ginastera, Saint-Saens and Tailleferre concerti. But another force behind recordings is what repertoire the competitions are requiring, as the contestants are among the people most likely to make cds. I would love to have the money to set up a first-class harp-focused recording company.
I agree with you Paul. When I browse harp recordings, I look primarily for pieces that I don’t know. That is what is most likely to get me to buy the CD. If I see too many pieces that I know, I’ll let it pass.
The same thing is happening on a larger scale in classical music recording. I remember hearing a recording executive a couple of years ago say that there isn’t an orchestra in the world that can put out a recording of a Tchaikowsky symphony and sell more than 10,000 recordings worldwide.
> I remember hearing a recording executive a couple of years ago say that there isn’t an orchestra in the world that can put out a recording of a Tchaikowsky symphony and sell more than 10,000 recordings worldwide.
While I hate to say it, I would say that 10,000 recordings is probably a pretty darned respectable number for ANY classical recording these days, Carl.
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