It has long been considerably less expensive to spiff up and repackage an existing recording than to make a new one. The first stereo albums of Fritz Reiner and the Chicago Symphony, for example, sound as though they were recorded yesterday, although some of them are nearly sixty-five years old and every person associated with them is either dead or long retired. Brilliant young performers now have to compete not only with their contemporaries but also with a host of legendary ghosts. Through technology we have established a permanent pantheon of great performances, one that can be very difficult, perhaps impossible, for newcomers to crack.
Article source here:Arts Journal
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