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Founded in 1923 by Sir Compton Mackenzie and Christopher Stone as ‘an organ of candid opinion for the numerous possessors of gramophones’
The fun to be found in making musical lists
While I write this, the votes from our panel of reviewers are being collated as we conclude the penultimate stage of our Awards process. To recap: our critics have already reduced our initial list of many hundreds of contenders to a shortlist of six per category, and then they’ve listened again to those, sending in their nominations. We’ll very shortly know the winner of each category, and then the final stage will see a smaller panel gather later this month to choose the Recording of the Year.
of critical judgement? The answer I give is that such features can work in many ways, for all types of readers.
For the most committed collector, they can be a useful shortcut into the decades-long legacy of our critics’ opinions: each choice is backed up by a strongly favourable review. I’d also challenge any Gramophone reader not to have, in their minds, a series of lists of their favourite interpretations or interpreters. We should always challenge any views we hold, if only to have them reinforced after thorough scrutiny. And, if the Gramophone office is anything to go by, discussing such lists is also fun!
I can’t, obviously, reveal anything at this stage – but it’s been a strong year of releases from major and indie labels alike, in both core repertoire and more exploratory projects, and the results will reflect that. Why I am writing all this now? Well, partly to whet appetites, but I also wanted to reflect a little on the wider issue of Awards, of ‘best of category’ initiatives, and of lists in general. It’s something we at Gramophone do a lot: as well as our Awards, there is also our Hall of Fame, our playlists, and the recommended recording lists we run online, most recently focusing on Gluck and Beethoven. We know that these are among our most-read web features, and giving readers something they enjoy is one of the most gratifying aspects of publishing.
But I also hope it contributes something to everyone’s understanding of recording. Some readers have written to me to question this sort of article (and, let me say, I really do appreciate all correspondence – supportive or otherwise). Are people really interested in lists? Do they over-simplify the complex nature
None of us are all-knowing experts – I’m certainly not. We all have differing degrees of knowledge, and we all need guidance. That’s why Gramophone seeks out and invites the finest critics to share their knowledge in their specialist areas. For the discoverer – of new recordings, new repertoire, even core repertoire – such lists can open doors to life-enriching experiences. So I hope you’ll take time to explore and enjoy our lists – online, and in the magazine. Which brings me to this month’s cover story, in which we invited 10 of today’s leading pianists to each discuss one of 10 great piano concertos. The list was our choice, and is necessarily subjective. The list of artists, however, was easier – each is an extraordinary exponent of the pianist’s art, and has contributed a remarkable recording of the relevant work to the catalogue. We’re hugely grateful for the time they’ve given to help us with what’s turned out to be a fascinating feature. martin.cullingford@markallengroup.com
THIS MONTH’S CONTRIBUTORS
‘Piano concertos have been an integral part of my musical experience for as long as I can remember,’ says
‘Though often in the shadow of Wozzeck, Schoenberg’s Moses und Aron emerged, for me, as perhaps
MICHAEL MCMANUS, responsible for compiling this issue’s cover story. ‘How fascinating – and what a privilege – to explore 10 of the greatest of them, from the inside as it were, with 10 of the greatest pianists of our age.’
the greatest opera of the Second Viennese School,’ says our Collection author DAVID PATRICK STEARNS. ‘The layered orchestration forces conductors into decisions that make the opera feel signi icantly di ferent at nearly every encounter.’
‘As a fervent fan of Horowitz during my teenage years, it was hardly surprising that I was similarly bowled over by his erstwhile pupil Byron Janis,’ says this issue’s Icons writer JEREMY NICHOLAS. ‘Though his career was compromised by physical problems, I think he was one of the most electrifying pianists of the past century.’
THE REVIEWERS Andrew Achenbach • Nalen Anthoni • Tim Ashley • Mike Ashman • Richard Bratby • Edward Breen Philip Clark • Alexandra Coghlan • Rob Cowan (consultant reviewer) • Jeremy Dibble • Peter Dickinson • Jed Distler Adrian Edwards • Richard Fairman • David Fallows • David Fanning • Iain Fenlon • Neil Fisher • Fabrice Fitch Jonathan Freeman-Attwood • Charlotte Gardner • Caroline Gill • David Gutman • Christian Hoskins • Lindsay Kemp Philip Kennicott • Richard Lawrence • Andrew Mellor • Kate Molleson • Ivan Moody • Bryce Morrison • Hannah Nepil Jeremy Nicholas • Christopher Nickol • Geo frey Norris • Richard Osborne • Stephen Plaistow • Mark Pullinger Peter Quantrill • Guy Rickards • Malcolm Riley • Marc Rochester • Patrick Rucker • Julie Anne Sadie Edward Seckerson • Hugo Shirley • Pwyll ap Siôn • Harriet Smith • David Patrick Stearns • David Threasher David Vickers • John Warrack • Richard Whitehouse • Arnold Whittall • Richard Wigmore • William Yeoman
Gramophone, which has been serving the classical music world since 1923, is irst and foremost a monthly review magazine, delivered today in both print and digital formats. It boasts an eminent and knowledgeable panel of experts, which reviews the full range of classical music recordings. Its reviews are completely independent. In addition to reviews, its interviews and features help readers to explore in greater depth the recordings that the magazine covers, as well as o fer insight into the work of composers and performers. It is the magazine for the classical record collector, as well as for the enthusiast starting a voyage of discovery.
gramophone.co.uk
GRAMOPHONE AUGUST 2016 3
