Short-Attention-Span Theater and the value of Album Covers, Part One........

When it comes to classical music, serious music, non-commercial, non-vocal music – I have to readily admit I am not academic about my appreciation. My grasp of concepts like “sonata form” are tenuous at best. I have a little basic training in rhythm, melody, counterpoint, keys, modes, historical background and the like. But I am an outsider in nearly every sense of the word when it comes to the “serious music” scene. I do like to be exposed to different musical ideas, however. I try to find basic appreciation of music even though the deeper significance of any given work is likely to bypass my consciousness quite easily.

So what am I in it for? Specifically – I found myself wanting to hear more instrumental music in general, yet I also wanted to branch out from jazz and other more popular forms.  Really – I knew there was a whole tradition of European music to which I had very little exposure – a reality I wanted to change. So – finding pieces I like and returning to them frequently has been the key. This is where LP records are helpful. Sometimes it’s just a matter of knowing what records I like based on the sleeve art! I’ve got that orange cover Bach cello album…………

the album with the impressionistic river on it (Moldau)……

the Varese album that looks like a psychedelic flushing toilet………..

and this one:

Beethoven – Sonata for Violin and Piano / No. 6 & 9 – Arthur Grumiaux (v) and Clara Haskil (p)     I got this record in a batch of about 10 LPs from an ebay auction last year. All old Beethoven records – all in mint shape for $10 shipped! Not bad. Especially since I eventually discovered I really enjoyed both performers. I have a few other records with Grumiaux – he’s another violinist I’ve picked up on. Great intonation – great tone generally. Tasteful approach. Of course neither Grumiaux nor Haskil are alive today. She died at the height of their collaboration as a result of injuries suffered on the way to a performance, of all things. This record is one example of the telepathic rapport these two had. I’m only just getting familiar with Beethoven works outside of the Symphonies and this record is an example of the value of LPs in this process. I might not always think to myself – “ah! How about those Violin and Piano Sonatas”. But I will remember the cover and think – “yeah! Time for that Grumiaux / Haskil record!”

LP records offer up bite-sized portions of this music. Easily digestible. Album covers, however bizarre, offer a reasonable visual connection to the contents – not usually detrimental to the enjoyment of the music within. Most companies tried to accommodate a certain level of taste in their choice of visuals. Sometimes record executives are misguided – such as in the case of the Westminster Gold reissues of the 70’s like this:

or this..........

 

Just like everything else, there’s a website dedicated to these wacky covers here:

http://www.westminstergold.com/


I don’t own too many of these, but the ones I have are actually quite good from a musical standpoint. It really must have been a puzzlement for record company suits to figure out how to market this music. Did they succeed? I can’t imagine many die-hard music fans were won over by scary sleeve-art. I think there were even some lawsuits in the case of living composers who took exception to the use of goofy images on record sleeves containing their music!

I have more examples for future times - this is part of the fun of exploring the world of physical music products of the 20th Century! It was the golden age of recording for all styles of music. The demand for platters encouraged the outpouring of talent and the growth of the music industry such as it was then. As many folks are discovering for themselves now, those vibrations are still good - and often available on LP for a minimal investment indeed! Happy hunting and listening!