Why streaming is a good thing – at least for the consumers
It´s amazing how our listening habits have changed in so little time since streaming arrived. I was personally late to the game, only started less than two years ago (about the time when I started this blog).
In the not so “old days”, one had to go to a record store and listen to new music there. That was an adventure on its own, and if you had a good CD (or vinyl) dealer, you even got some great advice.
Well, we can safely assume that CD stores will mostly go the way of video rental stores, with few exceptions. You may like this trend or not, but for me, streaming has opened up new worlds.
You basically get every single new album, the day it is out, directly onto your computer, in CD quality or even better. And this for a relatively modest fee, about the price of 1-2 CDs. I’ve discovered so much new music like this, stuff that I wouldn’t otherwise have explored.
So from a customer perspective there is a real gain. From a musician perspective, things are obviously different, as musicians only make very little money from streaming if you’re not Beyonce. I assume for this reason, many smaller labels, like ECM, Chandos, or Hyperion didn’t allow streaming until now.
It looks like things are changing again, as labels do realize that streaming may be a tricky business model, but if you’re not on it, you’re out of mind for too many music lovers. ECM came first recently, Chandos just started, and I hope Hyperion will follow.
It is just that especially for classical music there is no decent way to sample music before you buy now that CD stores are gone, and the 30 seconds snippets from Amazon may work for Bruno Mars, but not for a 50 minute classical piece.
Which lead to me often ignoring recordings, like this particular one. I’ve mentioned it previously in my post about the 2017 Gramophone award nominations. To quote myself “I have only heard it once on the radio (again, also Chandos doesn´t stream), and liked it, but wasn´t blown away. Not interesting enough for me to spend money blindly on it“. There you go. I’ve simply ignored a truly great recording just because of their lack of streaming.
But please, fellow music lovers, remember, no musician can live off streaming only. So, please, if you like something, buy the album, or go to their concert. We want these great musicians to be able to live off what they are doing!
Schubert: String Quartets No. 12 & 15 – Doric Quartet (Chandos 2017)
I haven’t written about String Quartet No. 15 yet. That’s a shame. I’ve mentioned No. 13 “Rosamunde”, and obviously Death and the Maiden, No. 14.
No. 15 is the last one, and to me pretty much on par with the two others as well as the outstanding String Quintet (see here and here for my favorite versions).
No. 15 is a true masterpiece, and longer than most of Schubert´s symphonies. My initial versions of this were the great Alban Berg Quartet and the Quartetto Italiano.
The Doric String Quartet is a young UK-based quartet, with Alex Redington and Jonathan Stone on violin, Hélène Clément viola, and John Myerscough on cello. The quartet has won a number of prices and awards yet, including several high praises by Gramophone.
And as already mentioned above, my superficial listening on the radio simply wasn’t enough to make up my mind. The playing is truly excellent, showing all the passion that late Schubert requires, but at the same time the attention to detail that shows all the little nuances that Schubert is so good at hiding in the music. This is truly breathtaking.
Did I mention you also get the Quartettsatz, a one movement quartet from Schubert? We won’t say no to this!
My rating: 5 stars
As mentioned previously, Gramophone agrees, this was and Editor´s Choice, and shortlisted for the 2017 Gramophone Awards. Germany´s Fono Forum also gives 5 stars.
You can find it here (Qobuz, who at the time of writing has a special offer on all Chandos), and here (Chandos own online store)