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The Awards issue of Gramophone is on sale from September 28; the November issue will be on sale from November 2 (both UK). Every effort has been made to ensure the accuracy of statements in this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing his contract. Regarding concert listings, all information is correct at the time of going to press. Letters to the editor requiring a personal reply should be accompanied by a stamped addressed envelope. We have made every effort to secure permission to use copyright material. Where material has been used inadvertently or we have been unable to trace the copyright owner, acknowledgement will be made in a future issue. Printed in England by Wyndeham Heron. ISSN 0017-310X. © 2012 haymarket consumer. All rights reserved North American edition: Gramophone ISSN number 74501X, is published monthly by Haymarket Media Group with an extra issue in November, Teddington Studios, Broom Road, Teddington TW11 9BE, United Kingdom. The US annual subscription price is $89. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. Subscription records are maintained at Haymarket Media Group, Teddington Studios, Broom Road, Teddington TW11 9BE. Air Business Ltd is acting as our mailing agent.


Founded in 1923 by Sir Compton Mackenzie and Christopher Stone as ‘an organ of candid opinion for the numerous possessors of gramophones’

Recording makes our lives much the richer PETER QUANTRILL has never talked to or even seen Michael Gielen, of whom he writes in this month’s Icon feature, but he wishes he had: ‘Audiences and orchestras in the UK and US never took him to their hearts – more fool them. He’s revered in Japan, Germany and elsewhere as a man who makes all music sound of our time.’

This is my first Gramophone Classical Music Awards as editor of the magazine, though my 11th as a member of the editorial team. In each of these years, as I’ve watched the vast numbers of recordings whittled down through so many deeply considered (and intensely argued) critical decisions to the winners and, ultimately, the Recording of the Year, I’ve marvelled at the astonishing artistry, variety and innovation behind the releases each year has offered.

We read about them every month in our reviews pages, of course (in itself only a proportion of all that is released) – but to see them, first as extensive longlists and later, after the first stage of the voting process, as vast numbers of boxes moving via our office from label to critic, is to be reminded of what rich times we live in for classical music recording.

The recording industry may change and evolve year by year as it engages with economic realities but also embraces the opportunities brought about by technological innovation (on which note, find

JEREMY DIBBLE, who writes this month’s Collection on Butterworth’s A Shropshire Lad Rhapsody embraced the opportunity to explore the work thoroughly with wholehearted enthusiasm: ‘The chance to examine all the available recordings of A Shropshire Lad has allowed me to revisit a work that was life-changing in my youth’.

This month’s candidate for The Musician and the Score was a complicated one – James MacMillan’s Veni, veni, Emmanuel. ‘It can be hard work getting to the bottom of a piece as flamboyant and complex,’ says HANNAH NEPIL. ‘But MacMillan was only too happy to chew over his compositional strategy – he was very approachable.’

Emmanuel veni, Veni, .

‘The recording industry may change and evolve year by year as it engages with economic realities but also embraces new technological innovation’

out on page 29 how you can download selected Awards tracks from iTunes). But nothing but praise can be given to an industry that can offer us, to take just a few examples from this year’s Awards contenders, wonderfully performed surveys of early music composers but also insightful performances of core repertoire by the likes of Schumann and Beethoven that make us marvel again at what’s revealed in these oft-recorded works. Or a debut recital from a 19-year-old pianist of formidable talent as well as a film of a Bruckner symphony from one of the most revered and respected of today’s maestros. Or carefully curated song programmes built around an 18th-century castrato, or the subject of war, as well as a documentary about the history of an American orchestra that is both captivating and inspiring. I could go on – but turning to the Awards section of this issue will reveal more. We and inspiring. I could go on – but turning to the Awards section of this issue will reveal more. We salute the ultimate winners, of course, but they are only part of the story. Explore the shortlists salute the ultimate winners, of course, but they are only part of the story. Explore the shortlists too, all excellent and deserving recordings,

too, all excellent and deserving recordings,

and in so doing celebrate – and support – performers, composers and a recording industry, thanks to which our lives are much the richer.