The Oregonian’s classical music critic, David Stabler, posted a fascinating rant on 3/5/2009 about orchestras, musicians, and recording rules. As it turns out, David’s post inspired some readers to send in some intriguing email messages about that blog post which grew into an interesting exchange about the value of orchestra recordings in the new economy (or if you watch CNN, what appears to be the fall of capitalism). Back in July, 2008 I posted an article which touches on this very subject but never really followed up on it as I should have…
Fortunately, the email discussions I’ve been having as a result of David’s blog post all seem to circle around to the same question: what is the real value of recordings?
Consequently, I’ve put together a little poll with answers based on the most common perspectives articulated by those I’ve been communication with (which includes managers, musicians, and patrons) and I’m curious to see what everyone else thinks. Keep in mind, this is a terribly complex series of issues and this casual little poll is by no means an attempt to oversimplify any of those discussions. Instead, I hope those inclined will take advantage of the blogging format and offer a thoughtful opinion (or several) in the form of a comment explaining what you think and why.
In the meantime, Oregon Symphony Orchestra Assistant Principal Viola and culture blog author, Charles Noble, has jumped head first into the shallow end of poll that is orchestra recording agreements in two blog posts. The first breaks the surface of the water by responding to David’s blog post and the second examines the variety of recording agreements currently in play (no pun intended and kudos to Charles for taking advantage of info compiled by his colleagues across the country).