The first 50 in the Gramophone Hall of Fame
Gramophone's editor introduces the May 2012 issue
Martin Cullingford 10:32am GMT 16th April 2012
For the Gramophone reader, it’s a hypothetical question of course, but still one worth asking: why do we need another recording of a Mozart piano concerto, or Beethoven symphony, or Tosca – or any of the works recorded so many times that you could fill a shelf with one of them alone? The answer is, simply, that music is inexhaustible and infinitely complex; that each new performance has the potential to reveal new ideas, beauty and power, and that no single one can ever claim to be definitive. And what makes each recording different from the next? It’s the expertise, insight, understanding, musicianship and vision of the people involved, and perhaps something of the period in which it was recorded. Every generation, since the first wax cylinders were pressed more than a century ago, has had its inspirational recording artists – as well as A&R executives and producers, without whom the artists would not have made it into the studio, let alone on to tape. It is these people we are here celebrating as we unveil the first 50 names to be welcomed into the Gramophone Hall of Fame. It is thanks to them that a new interpretation of an oft-recorded work can compel us to admire the music anew and more than justify that ever-expanding catalogue.
We originally drew up a longlist (we didn’t include composers, unless they happened to be prolific recording artists, too) and then invited you, our readers – both in print and online – to nominate up to eight names each. Some of the names to have made the final 50 you would expect to see there – Karajan, Callas, du Pré, Kleiber, Pavarotti – others may be more of a surprise. For each one we’ve then invited another leading musician, or in some cases one of our critics, to comment on how that person’s art and legacy – or ongoing work – is so important to us.
And this is just the beginning: every year, we will admit another group of people into the Gramophone Hall of Fame; between now and the end of the year, feel free to send us your suggestions of who should be on next year’s longlist.
Comments
Hard to believe that Szell, Ormandy, and Walter didn't make the cut!
Along with our American(?) friend above I too am shocked by thir omission. However, I think it worse that Fred Gaisberg, the first record producer, was overlooked. This so-called Hall of Fame speaks volumes about the average age and knowledge of recording (as distinct from music per se) of the present reader of Gramophone.
Indeed, any number of pioneering omissions. Where was Stokowski among the conductors and Schnabel among the pianists and as far as singers - Pavarotti and Caruso of course, but who led the way to Pavarotti? Beniamino Gigli, a serious omission. Apart from the voice itself, he brought opera to a much wider audience, appearing on film, radio and tv. I could also mention Melchior and Tauber!
The fact that George Szell was not listed makes me question Gramophone's own ability as a source of worthy review,perspective etc. I am asking myself;Why even bother to continue with my subscription?
While I appreciate your advocacy of George Szell, I thought it also worth reiterating that the final 50 were chosen by our readers - and that the limit of 50 will clearly mean many great artists could not be included. However, we will be welcoming another group of artists (and, potential, more producers and executives) into the Hall of Fame next year, so such ommissions will have a chance to be addressed then. Martin