Clyde Slick wrote:
snip


How many different recordings of the same old stuff do we need?


I think that was his point. Except when you go back and ask how many
truly first class recordings there really are of any given symphonic or
chamber work...and how many genuinely valid interpretations, or
archetypes of interpretations there are, there some big ozone holes in
the musosphere. And there are many great works by composers who are not
as well known which exist only in mediocre performances, or mediocre
recordings of performances. And when you ad in the interest in
_correct_ performance of early music, or indeed any music not
originally scored for bog-standard instrumentation...