Tom Connor wrote:

>Lately, for me, I find one of the most valuable parts of this list
>is the recommendations and discussions of music.

That's why we're here.  But, giving priority to the recording
recommendations of fellow list members does have its setbacks.  I recall
paying much attention to the recommendations of three particular list
members; I even provided their names in a posting a few months ago.  Well,
the most reliable one is evidently gone from the list, and I've been
"burned" some by the recommendations of the other two.  I also find that
my opinions often differ from those of magazine reviewers who I thought
were on my wavelength.  What it all comes down to is that each of us has
"unique" taste, and trusting our own instincts is the best way to proceed.
It would be nice to have an identical twin.

>Perhaps we should discuss the whole notion of a 'best' recording or
>performance of a piece of music.  There's no such thing.

That takes care of this discussion - case closed.  Actually, any one
person can and may have a best/definitive recording of a work, until
the "better" one appears.  And, based on reviews, there might emerge
some kind of consensus as to the best recording.  In a well-run classical
recording store, inventory decisions are made on a daily basis.  How do
you decide what to order/to restock? Which Mozart piano concerti discs and
Chopin piano discs will be part of the inventory? The owner/manager will
likely give consideration to his/her own preferences, what's selling well,
and, hopefully, some kind of conclusions based on critical "consensus".
Although I'm not a big fan of Beethoven cello sonatas on modern
instruments, I'd be a fool not to stock the likes of Ma, Casals, Du Pre,
and Rostropovich.  That's based on critical consensus.

Don Satz
[log in to unmask]