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INDEPENDENT BOOKS OF THE YEAR
This completely new edition of the Penguin Guide reviews the 1000 best classical albums issued and reissued over the past five decades, many of which dominate the catalogue because of their sheer excellence, irrespective of recording dates. More comprehensive than ever before, it indicates key recordings on CD, DVD and enhanced SACD, including those in surround sound. If you want the finest available version of any major classical album you will find it listed and assessed in these pages.
Ranging from long-established albums to the newest releases, the latest edition represents the cream of the international repertoire and has all the information you need to select the finest classical music available.
- Sales Rank: #746325 in eBooks
- Published on: 2011-09-29
- Released on: 2011-09-29
- Format: Kindle eBook
Review
The best, the biggest and the most comprehensive [Praise for The Penguin Guide to Recorded Classical Music 2010] Independent
About the Author
Ivan March is a well-known lecturer and broadcaster, he has contributed to a number of record-reviewing magazines. He now reviews solely for Gramophone. Edward Greenfield, until his retirement in 1993, was for forty years on the staff of the Guardian, succeeding Neville Cardus as Music Critic in 1975. Robert Layton is an author, translator and critic, specializing in the music of northern Europe. Paul Czajkoski has been a fanatical record collector from almost the age he could walk to a record shop.
Most helpful customer reviews
128 of 134 people found the following review helpful.
The Penguin has gone the way of the Dodo
By musicisitnatch
Folks, it's all over. It's the end of an era. What we used to know as "The Penguin Guide to Recorded Classical Music" (last edition was 2010), has gone from approx. 1500 pages down to a mere 400 pages. Truth be told, the writing had been on the wall for some time. Those of us waiting for the 2011 edition knew something was afoot. Why the delay? Basically, Penguin has thrown in the towel. In their Introduction to this edition they state the the guide "had reached it's maximum capacity" and that their "chosen answer is to plan a more compact survey centering on 1,000 of the very finest issues". No apologies. Just that. THEIR chosen path. What about the buying Penguin Guide public?
I, for one, am bitterly disappointed in this decision. As we all know, there's a deluge of issues/reissues of great classical/historical performances these days, and a major factor must have been: How to keep up?
But surely, Penguin, with all of their resources, could have gone another route? One would have been to continue the "by composer" approach of the original guide, and then (somewhat like their earlier Year Books), published a "by artist" guide separately. They could have introduced a "by conductor" guide also. Maybe have opera spun off etc.etc.
Instead of that we now get (mostly), one pick of various repertoire, still organized by composer. And now, unlike the original format, we now don't even get the entire repertoire of a composer. Basically a "greatest hits" compilation. And if making the guide more compact was the priority why does Percy Grainger get 5 pages. (Brahms gets just over 3). Under Schumann, you won't find listed Furtwangler's 4th with the Berlin Philharmonic. It's not much more than a glorified version of what they did in the back pages of the 2003/4 Penguin Guide Edition.
One of the primary beauties of the old Penguin Guide was that one did read discussions of various interpretations.
This book will have some interest inasmuch as newer issues have come out since the 2010 Guide. (Example: The 21 CD Box Set: Furtwangler - The Great EMI Recordings"). But outside of that it is a bitter disappointment to see this guide reduced to a shell of what it once was. It could serve a function to someone who is virtually entirely new to the classical music arena. But outside of that I can only say that the Penguin Guide has gone the way of the brick and mortar record stores.
At the begining of the afore-mentioned 2003/4 Penguin Guide they stated that they "seek to provide a comprehensive, yet selective coverage of this vast repertoire", and "is in itself of fascinating documentary value".
Sadly, it's much, much more selective, no longer comprehensive, and as a result, not only has it lost it's documentary value, but has also lost it's heart. I will miss the eager anticipation that came with browsing the latest edition of this guide.
0 of 0 people found the following review helpful.
Of interest but not a mandatory reference
By Phil (not) in Magnolia
I purchased this guide with some hesitation, knowing that it took a different approach to the selection of classical recordings included compared to Penguin's traditional annual compilation.
The contents are of interest as a supplement to my other resources but I would not consider this to be a useful stand-alone reference. And in fact Penguin had been fighting a losing battle for some time, leading up to this publication in 2011. Their annual guides were becoming very large, not really unwieldy but awkward to use. Those of us who did (and still do) consider them a valuable reference were less concerned about the size of the volume as we were with the contents and the relative completeness. The annual challenge regarding what to add and what to remove, and how different we should expect the guide to be from one year to another were all things that every user had their own opinion on. Finally Penguin seems to have decided that the annual guide was impractical to update on that basis, and with this '1000 Finest' guide they tried to offer something different but still (hopefully) useful.
For my own reference I continue to use The Penguin Guide to Recorded Classical Music 2008, which I consider to be recent enough for regular use in combination with the other resources available on the web.
19 of 20 people found the following review helpful.
Great Expectations, Big Frustration
By Jo�o Evolu��o
As soon as I've pre-ordered this guide I remained curious and anxious until the item was delivered to my home some months later. However, after receiving it, I could not believe in what I was reading: a very British centered guide. Just some examples among the finest classical recordings listed: 15 entries for Elgar; 15 for Britten; 14 for Walton; 8 for Vaughan Williams; 8 for Bridge; 5 for Rutter; 4 for Holst; 4 for Bowen; 4 for Bliss; 4 for Rawsthorne; 4 for Tippet; 3 for Bax; 3 for Dyson; were also mentioned recordings from Alwyn, Ferguson, Butterworth, Mathias, as well as from many many other british composers that I will not list here. And believe it of not: 5 pages dedicated to Percy Graine with dozen of recordings suggested (more pages than even Schumann recordings have received!). But this is absolutely not the major problem... The big issue is that the following non-british composers, to name a few, did not deserve a single entry: Machaut, Delalande, Granados, Glass, Reich, Agricola, Berio, Ligeti, Feldman, Carter, Dufay, Gabrieli, Gubaidulina, Janequin, Kagel, Lassus, Mascagni, Nono, Rodrigo, Saariaho. Santoro, Schnittke, Takemitsu, Weiss, etc. An additional sad note: none of Glenn Gould's Goldberg Variation recordings deserved an entry... Briefly, the problem of this guide is the following: a "martian" reading it would conclude that, after the invencible Germans geniuses, the British composers are by far the most important ones in the history of the classical music... Shame on You, Penguin!
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