Thread: Exton, Triton and Cryston future availability outside of Japan?

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Post by flyingdutchman November 22, 2009 (51 of 77)
Arnaldo said:

Mahler: Symphony No. 1 - Honeck got a 10/10 from David Hurwitz at classicstoday.com (http://classicstoday.com/review.asp?ReviewNum=12514). But before getting into the review itself, he explains that "... Allegro now distributes Exton, an exciting prospect for American collectors tired of ordering direct from Japan and paying crazy prices for shipping." He then continues by saying that Honeck's "... is unquestionably one of the great Mahler Firsts, a performance that has abundant character, ideas that work, and astounding playing, particularly from the Pittsburgh horn section." Finally, the conclusion is that "If you want "you are there" sonic realism, and an interpretation that hits you right in the gut, then you must hear this. Bravo!" The only caveat is no specif mention that it's a SACD, albeit stereo only.

It will be interesting to watch what discs will be available. In almost 2 months the same 7 or so are for sale through Allegro. If more come out, it will be nice to say I was wrong about Exton's release in the US.

Post by Ernani71 October 31, 2010 (52 of 77)
bissie said:


Why don't you instead give your custom to those of us companies that also release droves of material, make them available world-wide, KEEP them available and at prices that do not exceed the standard RBCD price?

Robert

Those who buy Exton don't buy BIS?

Post by Chris November 1, 2010 (53 of 77)
For whatever it is worth a search at MDT returned about 30 Exton titles for 12,20 Pounds each.
There were not really any that tempted me to spend any money.
But for those interested MDT seems to be an option.Personally I am quite happy to buy my SACDs and hi rez downloads from Channel, Chandos 2L and Linn, Arts Acousence BSO Live LSO Live Pentatone and other labels who record in either DXD pure DSD or 24/192, or 24/96 or 24/88.2.
For whatever it is also worth my latest BIS title was Mahler's 9th from Stockholm.
Musically very,very good but DECCA's pure DSD is in a different class altogether for SQ IMHO.
I vote with my wallet.
I see little reason to keep buying standard repertoire works recorded in 24/41 when they can often be heard in higher rez.
My advice to Bissie would be to do DXD.And get back as a true non-compromise HI REZ label again.

Post by armenian November 1, 2010 (54 of 77)
And speaking of Trition Label, does anyone have the Sergei Edelmann Liszt B-minor Sonata? Any opinions of the sound and the performance?

Vahe

Post by Arthur November 1, 2010 (55 of 77)
bissie said:

Are they really, really, REALLY so good that you have to keep pining for their products?

If a company releases droves of material, but makes not one single effort to market them, keep them available or have them at at least half-decent prices, why this whining in this community? If they don't want to sell, don't buy.

Why don't you instead give your custom to those of us companies that also release droves of material, make them available world-wide, KEEP them available and at prices that do not exceed the standard RBCD price?


Robert

At the risk of beating a dead horse by responding to a remark made a year ago:

Robert:

I believe you fundamentally misunderstand the nature of classical collectors! We have music we love and know and wish to have near us throughout our lives. We also have an interest in exploring new repertoire - albeit only things that extend the fringes of what we already know and love.

These two separate types of music elicit two separate types of responses from us as buyers. For the fringe items, we are seeking at least a competent performance in the best sound possible. For these types of purchases the track record of the record label becomes a matter of huge concern.

You've developed a very strong reputation regarding the quality of your products. (At least for me) Naxos hasn't developed nearly so strong a reputation. So if a bit of off-beat repertoire is recorded, its allure must be much stronger for me to make the leap if it is on Naxos than if it is on Bis.

But, sorry to say, that's about as far as our allegiance to record labels goes. For when it comes to hard core repertoire that has been recorded umpteen times, we trust performers more than we trust labels.

Personally, I find Macal more interesting than Jarvi; I find Ashkenazy more interesting than Flor. And so if it's core repertoire, that is where my buying choices go. I'll jump at anything Vladimir Tropp records, but Sudbin needs a good review (from a reviewer I trust) to get me off the fence.

This is the gap you need to bridge to get these whiners off their crusade. Of course, then the new crusade will be "his Mahler is great, but how about some Shostakovich" (Just ask Jared!) (-:

Bret

Post by wehecht November 1, 2010 (56 of 77)
Arthur said:

For when it comes to hard core repertoire that has been recorded umpteen times, we trust performers more than we trust labels.

Personally, I find Macal more interesting than Jarvi; I find Ashkenazy more interesting than Flor. And so if it's core repertoire, that is where my buying choices go. I'll jump at anything Vladimir Tropp records, but Sudbin needs a good review (from a reviewer I trust) to get me off the fence.

Bret

While I'd agree as a general proposition that my standard rep purchases are more determined by performer than label it's not necessarily so. One of the easiest examples is the respective Beethoven symphony cycles of LSO live and BIS. Having determined through initial purchases of Brahms, Sibelius, and one Beethoven disc on LSO Live that the label can't get the kind of multichannel sound out of the Barbican that I find realistic, my Beethoven purchases went to the BIS cycle. Similarly my Roman Trilogy is from BIS not Exton, and my Dvorak symphonies are from Pentatone and Channel (Phillips) not Exton. As a general rule Exton recordings I've bought (the Dvorak 3&7 and Haydn symphony discs excepted) have many of the same virtues and flaws as the LSO Live discs, great impact and timbral accuracy but a ridiculous first row perspective. And now, of course, Exton and its affiliates have gone stereo only, so as a label they've decided they don't want my business, which I think was Bissie's point in the first place. At the time of his writing their distribution was so limited that the basic message was: we don't care about the European and American markets. While that's now very slightly less true than it was then the new message is: we don't care about the multichannel purchasers either.

By the way, having never heard either artist live and finding only 5 available recordings by Vladimir Tropp, including 3 compiliation discs with titles like The World's Most Romantic Piano Music, and having been very impressed by Sudbin's recordings to date that would be a no brainer, performer related choice for me.

Bill

Post by Arthur November 1, 2010 (57 of 77)
Of course, Bill, my assertion was rather over-simplified. And everything you say is true.

Post by DSD November 1, 2010 (58 of 77)
Bret for hard to find and rare repertoire, I will settle for what ever label the recording rests on including Naxos or BIS. However for standard repertoire recorded a bazillion times, I prefer great performances in the best sound I can find. For me that is:Telarc, Reference Recordings, Lyrita and other audiophile labels that can provide me with the realism I experience in the concert hall. Exton sound quality is variable, sometimes fantastic and other times just so so, still some of my best sounding non-Telarc SACDs are on Exton.

Post by Orpheus December 3, 2010 (59 of 77)
toddao said:

Exton was out there at the first of the Prokofiev Festival last night recording. This time no mikes in the auditorium for surround. Perhaps acoustic difficulties in the Opera House means they have given up on surround.?

I was present during the recording of the Rachmaninov works by Exton of the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy and as I have previously reported, Exton had an extensive array of microphones all over the place, including way up high way above the orchestra near the top of very high ceiling, presumably for the surround channels. Putting the sourround sound microphones here would avoid audience noise. For those who haven't been in the Sydney Opera House, the ceilng above the orchestra is very high as above the orchestra is a big array of seats for a huge choir (which I've been in the presence of) and then a huge pipe organ way above them with 32ft stops out front. There is also a large array of microphones hanging from the ceiling out in the auditorium which Exton could also have used for the surround sound.

I am disappointed that all of the Exton SACDs that I have seen so far of their recordings of the Sydney Symphony Orchestra conducted by Vladimir Ashkenazy have been stereo only.

Post by Orpheus December 3, 2010 (60 of 77)
Edvin said:

I fail to see what's interesting about Exton. I cannot find a single SACD that I would pay even 5 pounds for. Why on earth would anyone be interested in Elgar conducted by Ashkenazy?

Try Exton's Respighi: Belfagor Overture, Belkis - Queen of Sheba, Church Windows, Radio Filharmonisch Orkest Holland conducted by Vladimir Ashkenazy. See the reviews and discussions of this exceptionally well recorded SACD on here. It is one of my favourite SACDs.

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