This post was going to be a review of David Hurwitz but became more an appreciation than a review. Hurwitz is an author and music critic who reviews classical music recordings both on YouTube and online at ClassicsToday.com. I hear quite a few of his YouTube videos but pay scant attention to the website. I also don’t comment; he has an engaged commentariat already. Hurwitz signs off from each video with the exhortation “keep on listening,” which I’ve adopted as the title of this blog post.
Aside: Before I get started (and this will run only slightly long), let me admit fully that classical music is a niche cultural offering rooted deeply in Western historical practice but which does not speak to many people. Everyone has their tastes and predilections and no apologies are needed when preferring one category or genre over another. However, I’m not such a value relativist to lend support to the notion that all things are created equal. How one defines art or indeed high art is a contentious issue, not unlike what counts as religion or philosophy. I hew to a relatively narrow traditional standard that admits poetry, literature, music, architecture, sculpture, and painting but eschews martial arts, culinary arts, cinema, theater, and video games. Not an exhaustive list on either side of the divide and no need to argue. Caveat: my standards are my own and should not impeach or diminish anyone’s enjoyment of his or her own passions.
Further aside: Also, the recording industry is a latecomer in the history of high art (and for that matter pop culture) and has already undergone numerous transformations as physical media shifted from the long-playing record (the venerable LP) to CD before going virtual as electronic files and streaming media. In a nutshell, competing forms of recording and distribution make up the so-called format wars, which are by no means settled. The entire idea behind making a recording is to memorialize a performance for repeat listening and posterity, as opposed to a live performance in a concert venue. The anachronistic term record calls back to that origin, though the term is arguably less applicable with each passing decade as everything is recorded and memorialized somehow. In addition, recordings grant access to ensembles and repertoire that would be prohibitively expensive or impossible if experienced solely in live concert. Through recordings, I gained a deep appreciation of many orchestras and lots of repertoire never once heard live in person. The same effect doesn’t really apply to reading a book or watching a movie. Lastly, and unlike a lot of my musician peers, I became an aficionado of recordings in parallel with performance activities.
I appreciate David Hurwitz for being among only a few people (to my knowledge) giving honest and entertaining assessments of recordings (not just new issues), as opposed to what passes for music criticism columns in newspapers and online devoted to live performance. Hurwitz explains, compares, teaches, and jokes about recordings with concentration on German symphonic repertoire, which is also my preferred musical genre. His erudite remarks also enhance my listening, which ought to be the chief goal of criticism — something lost on columnists who draw undue attention to themselves as flowery writers and auteurs. Hurwitz also has at his disposal rooms full of CDs, which I’m guessing are either sent to him for review by the record companies or otherwise acquired in the course of his professional activities. Lots of them are giant box sets of the entire recorded oeuvre of a particular conductor or conductor/orchestra/label combo. Thus, his breadth of coverage is far greater than my own. I’ve made numerous purchasing decisions based on his reviews and streamed lots more for a quick listen to hear what’s so remarkable (or awful) about them.
Final Aside: When I was much younger, I stumbled into a record shop (remember those?) in Greenwich, Connecticut, that had in inventory essentially the entire current catalogs of the major classical music labels. That richness of options (pre-Internet) was quite atypical and unlike any other record shop I’ve known. Accordingly, I was feverish with excitement, looking at all those big square LP jackets with their enclosed vinyl and attractive cover art. Back then, the only way to hear something was to purchase it, and my limited budget demanded prioritization. Decisions involved a mixture of pain (financial sacrifice and awareness of those many LPs, now CDs, left behind) and anticipated pleasure that has hardly faded with time. How someone like David Hurwitz ends up as a full-time music critic surrounded by rooms of CDs is a puzzle, and I sometimes sometimes envy him. Sports fans who grow up to be sportscasters might be a similar track. Who can predict who will be fortunate enough to enjoy fandom as a career?
Offered Without Comment 20
Posted: February 22, 2023 in Consumerism, Idle Nonsense, Media, TechnophiliaTags: Culture, Hari Kunzru, No Comment, Technophilia
From the May 2022 issue of Harper’s Magazine, Hari Kunzru’s “Easy Chair” column: