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In Reply to: RE: From you, that's a compliment. Please, feel free to list all the commentary you've read w/in the past 15 years posted by tinear on November 19, 2014 at 19:44:52
Well, for one thing, recordings by the artists you mention are reissued at certain intervals and then get reviewed in various publications. I haven't read Fanfare or ARG for decades; however, more recently, I've been keeping in touch with BBC Music Magazine and the Gramophone (especially when one or the other is honoring a babe musician of the month!), and I do see these reissues of recordings by the artists you mentioned reviewed. In the case of the Gramophone, these types of reviews used to fall mainly to Bryce Morrison, one of the most shameless critics ever to appear in a periodical. (He didn't seem to care for Ingrid Haebler's Mozart Sonatas, until they were reissued under Joyce Hatto's name!) In any case, Morrison and the other British record reviewers definitely pay their obeisances to all the names you mentioned.
I also check online sources, such as Music Web International, Classics Today, and Audiophile Audition (which, despite its name, covers reissued recordings fairly extensively). For instance, checking Solomon on Classics Today (no Google search - just a search on the site!), I turned up 15 different reviews - I think mostly by Jed Distler - which seem pretty fair to me: the performance ratings range anywhere from 5/10 to 10/10, while the SQ ratings range from from 3/10 to 8/10. (I think that one 8/10 SQ rating is a little generous!) On MWI, I found only about 10 reviews. Still, that hardly indicates that he's been forgotten. I found only a couple of Solomon reviews on Audiophile Audition.
I sometimes like Solomon too for his straight-ahead, unfussy renditions of a lot of repertoire. (I think I still may have his recording of the Hammerklavier Sonata, despite the slightly flinty SQ.)
Follow Ups:
by little known/read "critics." Of course, he meant by the consumers of classical music. In that population, I think it's safe to say that Solomon and the others I've mentioned have fallen from contemporary discussion. That just seems like a normal state of affairs. It obtains across other art forms, as well. The films of the Danish master Carl Th. Dreyer, for instance, have been forgotten except for the rare reference by film magazine critics…
Anyhow, enough on this! Time to do an online search for provocative female classical musicians...
I see - so you were convinced by our discussion below and you no longer trust the critics? ;-)
If you're just talking about the classical music "consumers" among the public at large, then I would agree with you. However, many of these folks can't even remember who the soloists were during the previous season, much less have a "contemporary discussion" about musicians who died 50 years ago! Also, these are not the people who are writing the "commentary" you asked for in your previous post, and which I very graciously supplied references to. ;-)
In any case, I daresay most of the posters on this board are music consumers, and, IIRC, we've had discussions from time to time which referenced all the names you mentioned.
Ah yes - provocative female musicians: now for someone who REALLY seems to be forgotten, I've got to check up on Oxana Shevchenko, whose 2010 recording of the Liszt-Busoni "Fantasia on Two Themes from Mozart's 'The Marriage of Figaro'" was deemed superior (by one of those worthless critics!) even to the great Egon Petri's. I guess one is more easily underrated and/or forgotten when one's home country is Kazhakstan!
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