![]() In being selective, the Gramophone Guide has essentially become *a canon of musical recordings*, the best of the best. In other words, it's *selective* - I don't know why this is so hard for people to understand! The Gramophone Guide includes *only* CDs that are recommendable: A recording, simply by *being in the guide at all,* meets a certain quality bar and is therefore recommended! And if a CD is not in the Gramophone Guide, it is far more likely that it was deliberately omitted and not that it wasn't reviewed. As an owner of the 2003/4 Penguin Guide, I doubt very, very much that it contains over 4,000 (!) new reviews that did not appear in the previous edition! Of course, not every review in Gramophone magazine is reprinted in the Gramophone Guide, and the cover of the Guide says exactly why: It contains reviews of only the "greatest" music in the "best" recordings. ![]() Call it an even 2,000 that's 4,000 new reviews over the course of two years. The reviews in the Gramophone Guide are taken from reviews that originally appeared in Gramophone magazine, which puts out 13 issues every year, with each issue containing *at least* 150 new reviews, for a total of over 13 X 150 = 1,950 new reviews each year. The most common criticism of this guide, particularly when compared to the heftier Penguin Guide, is that it does not include enough reviews. Or in King's series of Vivaldi's sacred music, this is the disc of motets (vol. Several or even many discs in a series may be recommended in the short-term, but usually one or two are rated more highly and thus are considered long-term "keepers." For example, in Vanska's series of Sibelius symphonies for BIS this is the disc of the 6th and 7th symphonies. * An effort is made to determine at least one best recording that can be recommended in any given series of recordings - often, to help promote awareness of it, this is the first or second CD in the series. In mortal dread that this great artist's recording contract might be terminated if this CD does not sell well, Gramophone hails it as a legendary-status benchmark recording (which it may or may not be). ![]() For example, Zimerman's 2004 disc of Rachmaninov concertos was his first DG release in several years, and the music itself was likewise recorded several years ago. Consequently, Gramophone often recommends recordings in the interest of supporting favorite artists. * The music industry has scared the pants off the Gramophone critics with cries that the classical recording industry is doomed. However, because Gramophone wants to support such an undertaking as a whole, those issues in the series that are found recommendable are thus *strongly* recommended - e.g., the Hyperion volumes devoted to Saens, Moscheles, Scharwenka, Lyapunov, etc. * Often a recording acclaimed by critics elsewhere is not included in the Guide - for example, many issues in Hyperion's series of "Romantic Piano Concertos." Such recordings are not included because the music itself is not deemed of sufficient intrinsic musical quality. Thus, a newcomer often gets the mistaken impression either that no recordings of that piece have been reviewed (rarely the case), or that the piece is not considered worthy of a place in the canon (sometimes the case see the next point). When the preferred recording becomes available again, it will be restored to the Guide. ![]() In such a case, rather than recommending a less worthy recording, the Guide will simply not make a recommendation at all for that piece. * It is not uncommon for Gramophone's most strongly recommended recording of a piece to currently be out of print. Favorite Gramophone artists currently on the scene - and this should be obvious by browsing through the Guide - include Perahia, Argerich, Pollini, Manze, Hough, Joshua Bell, Hahn, Andsnes, Pires, Uchida, Aimard, Harnoncourt, Gardiner, Hickox, Maggini Quartet, Lindsay Quartet, William Christie, Rene Jacobs, Alessandrini, Rousset, Pierre Hantai, etc., etc. Think of Ralph Waldo Emerson's adage: "There is no history, only biography." In other words, artists make it all possible, and superlative ones need to be recognized and rewarded. Brief observations that I've made after nearly a decade of using the Gramophone Guide: * The Guide is primarily artist driven. ![]()
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