Editorial A
t the World Economic Forum at Davos in Switzerland in February, the cellist Julian Lloyd Webber delivered a powerful attack on the cultural dislocation that has occurred between composers and their audience and the resulting crisis that has affected not only performance but also the attitude of the media towards what in the broadest terms might be called 'classical' music. The only way to attract the media spotlight towards classical music was, in his words, if the participants were "semi-naked bimbo violinists".
Rising to the challenge of Lloyd Webber's comment , GMTV, the commercial breakfast TV channel, offered him a week'sworth of slots on the programme to showcase young musicians. The result, a series of brief appearances by young artist s, introduced by Lloyd Webber, has drawn a strong response from viewers of the progra mme. A commendable reaction to a commendable initiative. The fact that many of the comments were along the lines of "What a relaxing way to start the day" highlights another problem besetting classical music- it has now become the equivalent of a bubble bath or a large gin and tonic. I would be fi rs t to acknowledge the power of music to transport the senses and, yes, relax but surely there is much more to it than that? Lloyd Webber critici zed the generation of post-war composers whose music appears only to appeal to the intellect and that of course is as dangerous a route as its opposite. But there are clear signs of a willingness to close the gaps between composers and th eir audiences, between the music being recorded and its consumers.
It would be difficult to have acquired this issue without noticing that we are celebrating our 75th birthday and the accompanying su pplement not only looks back over three-quarters of the century through the eyes of Gramophone's contributors and readers, but also look s to the future. We have talked to composers, performers, record industry executives, art s commentators and mem bers of Gramophone's panel of contributors. We have posed some fairly heavyweight questions such as whether can we even talk about 'classical'music any more (indeed we have even asked the question that usuall y makes my blood run cold "What is cla ss ical music?"). The timing, jUdging by some of the iss ues occupying the media in general at the moment, is apposite: the Halle Orchestra on the brink of a major appearance at the Salzburg Festival - is teetering on the edge of bankruptcy; funding for music teaching in schools is dwindling by the day ; a majo r recording that is 'classical' to it s very fingertips - Anthony Payne's realization of Elgar's Third Symphony - is likel y to be grounded in second place in the best-selling classical charts by the soundtrack to the film Titanic (a disc not stocked in the classical departments of HMV, Tower or Virgin in London); the state and status of the Royal Opera , Covent Garden is being held up to gen era l ridicule; the future occupancy of the post of Chief Conductor of the Berlin Philharmonic (a situation that was a major arts event after Karajan's death) barely registers in the Grand Scheme of Things; conductors of the ca libre of Mariss Jansons , Bernard Haitink and Christoph von Dohminyi no longer have recording contracts . . . the list goes on, but so thankfully does the pass ion for what surrounds us.
Classical music is not the most important issue facing the world today but it is by no means as negligible as many would have us believe. Music surrounds us and its currency has become devalued. If the current crisis facing this corner of our creativity is able to raise its s tock, put music back in a position of importance (not on some daunting or inaccessible pedestal) then there is hope. If the message that emerges from our article "Crisis . What crisis?" is one of a positive willingness to retrench and reinvent - as I think it is - then the next 75 years could be as ric h and varied at the last.
That Gramophone remains an independently owned and economically healthy title afte t 75 years is perhaps a remarkable thing in these changing times. As the magazine's Editor I should like to thank all our readers and contributors as well as the record industry itself for their continuing support a
Editor's choice
James Jolly selects
RECORDING OF THE MONTH
ten outstanding CDs from this month's reviews
• Schumann Dichterliebe. Liederkreis Bostridge;
Drake EMI Choral and song reviews Page 94
Adam Le toreador
Trempont; Jo; Aler; Welsh National Opera Orchestra / Bonynge Decca Opera reviews Page 108
Arnold Concertos Galway &Wind Quintet; Moll;
ASMF / Marriner RCA Victor Red Seal Orchestral reviews Page 36
Bart6k String Quartets
Takacs Quartet Decca Chamber reviews Page 60
Frankel Violin & Viola
Concertos, etc Hoelscher; Dean; Queensland SO / Albert CPO Orchestral reviews Page 44
...-c. . . . . . . . . . . . . =--::-.,....,...a...v......
Korngold. J Marx
Piano Concertos Hamelin; BBC Scottish SO / Brabbins Hyperion Orchestral reviews Page 46
Mozart. R Strauss Lieder
& Concert Arias Schafer; Berlin PO I Abbado DG Choral and song reviews Page 88
Rameau Les fetes d'Hebe Soloists; Les Arts Florissan ts / Christie Erato Opera reviews Page 112
Verdi Opera Arias
Alagna; Berlin PO I Abbado EMI Opera reviews Page 118
Canciones y
Ensaladas Ensemble Clement Janequin I Visse Harmonia Mundi Choral and song reviews Page 104
Gramophone April 1998 1
