Qobuz and Gramophone

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Experiments.

CW, what Mr. Wilson tried to say cannot be proved or dismissed by one or more experiments a seasoned listener can perform. The issue is that a vast majority of people, who try to find their way in a huge number of recordings that are not even known or advertised, can easily get lost in a "lexicon" (the term of Mr. Wilson) of recordings listed not always in the most convenient way to trace them.

In any case, Mr. Wilson's article demonstrates some of the risky business involved in this new situation of listening to Classical Music. You may read it, perhaps.

Parla

What lies behind this

What lies behind this obsessive, relentless denigration of a wider dissemination of music is the conviction that only those with a superior knowledge know how to consume it properly.  Appreciation requires the expertise of these mavens, without whom the doors are open to all kinds of misuse and anarchy.   

Here is a facility that can have positive or negative outcomes as described above.  But it cannot be uninvented, it can only be bemoaned by these Luddites.  Exactly the same arguments can be made in relation to mass literacy and the freedom to choose and read anything.  "Let them into the library and they will read trash."

What is on display here (as always) is a condescending, lecturing, assumption of superiority.  What is on offer is the universal availability and access to something Parla and his ilk believe can only be appreciated with and through their wisdom and expertise. 

This isn't about music for Parla.  It's about a jealous exclusivity.

Yesterday I received the

Yesterday I received the latest issue of Gramophone and by late afternoon had listened to the Recording of the Month, the amazing Concerto Italiano/Alessandrini Monteverdi San Marco Vespers, as well as the new Leif Ove Andsnes Beethoven PC No5, which I thoroughly enjoyed.  Both were played via Qobuz in FLAC quality, as good as any CD, and now flagged as favourites for another listen later. 

On the economics of this system, as mentioned above, I would pay twice my subscription rate to enjoy this facility.  Thanks to Gramophone for excellent reviews which led me to hear this amazing music within a couple of hours of reading the reviews.  I am sure that I will hear a dozen or more recommendations from this issue before the next one arrives.

Denigrate that.

Vic

Vic

Don't let Qobuz know you'd pay double! I am getting increasingly concerned by how much Qobuz don't have, not just the classical, but a lot of pop and jazz that is available from Spotify. I'd much rather stick with Qobuz for the quality, but I'm not about to pay two monthly subscriptions.

Paul

The ghosts and the shadows.

There is nothing to denigrate, Vic. You see terrible ghosts where there are only shadows of something real, so to speak.

Simply, Mr. Wilson, me and few of us, including even some who use the "facility", express some legitimate reservations and fears that we see where you identify other real benefits that can give you a great deal of genuine excitement.

In any case, even for the benefits you eloquently identify, you have to rely to some external source of information from expertise (Gramophone, for instance: "Thanks to Gramophone for excellent reviews"), so that they can guide your search in an infinite source of choices. Besides, you or CW are seasoned listeners, to some extent former collectors, and mature adults. Still, if no expertise source (that you trust) mention anytime anything about the two items from NoMadMusic (I mentioned in another thread), how could you ever try to chase them in Qobuz, while they are there available?

The difference with me as for the two recordings, "suggested" by Gramophone, is that I will go for them because I know who Alessandrini is and that a recording by him has certain value worthy enough to explore. Andsnes likewise. I have studied their course of their recording career, indulge in almost all their recordings and who eventually are as artists and intellectuals. I won't be easily excited by a new recording, no matter reviews might say. Ansdnes previous two volumes of Beethoven's Piano Concertos were a bit above mediocrity. Adequate performances of a solid soloist and aspired conductor. Perhaps, his "Emperor" is more inspired, but I doubt he can really go that far...On the other hand, I wonder what and when Gramophone has to say for the very recent Freire/Chailly's recording of the same concerto (on Decca), so that it can ring the bell to trace it.

The problem is not the service per se, but how it works, at least for the moment, and the damage done till, eventually, the necessary changes ever take place.

Parla

Final bell
parla wrote:

CW, what Mr. Wilson tried to say cannot be proved or dismissed by one or more experiments a seasoned listener can perform. The issue is that a vast majority of people, who try to find their way in a huge number of recordings that are not even known or advertised, can easily get lost in a "lexicon" (the term of Mr. Wilson) of recordings listed not always in the most convenient way to trace them.

Then "to whom it may concern"? Sometimes one may have the right to dismiss another, but be ready for the same.

I'm sure you have traceability provisions for your collection. Might a visitor, though, get lost?

The "visitor".

A visitor, yes, since it is not his/her collection, tjh. With some tips from me though, the "visitor" will be in a position to comprehend the "traceability provisions".

Parla

parla wrote:

parla wrote:

There is nothing to denigrate, Vic. You see terrible ghosts where there are only shadows of something real, so to speak.

Simply, Mr. Wilson, me and few of us, including even some who use the "facility", express some legitimate reservations and fears that we see where you identify other real benefits that can give you a great deal of genuine excitement.

In any case, even for the benefits you eloquently identify, you have to rely to some external source of information from expertise (Gramophone, for instance: "Thanks to Gramophone for excellent reviews"), so that they can guide your search in an infinite source of choices. Besides, you or CW are seasoned listeners, to some extent former collectors, and mature adults. Still, if no expertise source (that you trust) mention anytime anything about the two items from NoMadMusic (I mentioned in another thread), how could you ever try to chase them in Qobuz, while they are there available?

The difference with me as for the two recordings, "suggested" by Gramophone, is that I will go for them because I know who Alessandrini is and that a recording by him has certain value worthy enough to explore. Andsnes likewise. I have studied their course of their recording career, indulge in almost all their recordings and who eventually are as artists and intellectuals. I won't be easily excited by a new recording, no matter reviews might say. Ansdnes previous two volumes of Beethoven's Piano Concertos were a bit above mediocrity. Adequate performances of a solid soloist and aspired conductor. Perhaps, his "Emperor" is more inspired, but I doubt he can really go that far...On the other hand, I wonder what and when Gramophone has to say for the very recent Freire/Chailly's recording of the same concerto (on Decca), so that it can ring the bell to trace it.

The problem is not the service per se, but how it works, at least for the moment, and the damage done till, eventually, the necessary changes ever take place.

Parla

 

 

I have lost count of the number who have accused Parla of supreme arrogance, delusions of omniscience and breathtaking condescension, but if ever proof were needed, here it is in spades: Don't trust reviewers or be guided by the likes of Gramophone.  Parla knows best.  Unbelieveable.  Yet again.   

Delusion.

Calm down, Vic. Your obsession with me makes you deluded, once more.

The essence of my post had to do with the question of the need of a potential user of a streaming fcility to be guided by any trusted expert (magazine, institution, established reviewer etc.), so that one can find his/her way in the vast area of the numerous recordings being available there. Otherwise, these services are of little value. You (and others too) can trust and rely on Gramophone (only or mostly), others on other magazines or institutions, others on their own long research and experience and so on.

I do not and cannot claim any credit as an anonymous poster...(once more I have to state it).

Parla

Library

VicJayL wrote:

Let them into the library and they will read trash

 

http://www.ala.org/bbooks/bannedbooksweek

Pages

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