It’s quite possibly a situation unique to the classical recording industry: that our past – a century of recordings – is the chief rival to our present. In literature, painting or other genres of music such as pop or (in most cases) jazz, each new creation is entirely unique. Of course, it being our raison d’être, we at Gramophone would be the first to argue that each new recording of classical music is unique – it’s an individual performance immersed in the styles and concerns of our day. But the work itself will usually have been recorded many times before. Thus the potential buyer standing before a rack of discs (or, increasingly, seated in front of a computer) is faced with a dilemma: why should I spend £15 on this new recording when I can buy Karajan, Bernstein or Harnoncourt for less?

It’s a nice problem to have, of course. Reissues, when thoughtfully presented, are a rich part of the recording world. They enable us to journey through sound worlds of the past, to experience the artistry of great figures long dead, or to tune into the A&R imaginations of some of the most inspired executives of recording’s heritage. The best reissues are those which help us do this. Those which, far from just re-pressing old issues, offer essays and photography that look at the life and legacy of the artists concerned, how they were received and who they influenced, and in the case of the most extensive, a comprehensive overview of a musician, ensemble or label. Sometimes we might even listen to a much-eulogised figure from the past and wonder what all the fuss was about – but that’s important too.

It’s because of all these things – and in response to the ever more imaginatively curated catalogue releases that arrive at Gramophone every month – that I’ve reintroduced a reissues section in which our writers will survey some of the most interesting recent catalogue offerings, as well as the Classics Revisited feature which discusses in detail a historic benchmark. 

And yet if what makes historic recordings so fascinating is what they reveal about the eras, approach and styles of their time, how much more relevant for us, then, are recordings made today? Music feels most vivid of all when explored and interpreted by those who share our contemporary experiences, something I’m continually struck by when selecting the Editor’s Choice recordings each month. All such selections are necessarily subjective, but I’m very confident that any of those chosen – led by a thrilling survey of Beethoven’s cello sonatas by Steven Isserlis and fortepianist Robert Levin – will justify your time and money. But don’t take my word for it: more important are the words of our reviewers, and if you’re still unsure, the samples you can hear on the Gramophone Player or our monthly Spotify playlists should also help you to make up your mind. And when you have, why not let us know whether you agree, either on our online forum or by email (my address is below). Speaking of which, I’m very grateful to all those who took the time to email me to share their thoughts about the changes to Gramophone, and would be delighted to think you will continue to do so. 

martin.cullingford@markallengroup.com