I haven’t read Lebrecht’s book and don’t intend to do so. I would, nonetheless, like to respond to what you present as Lebrecht’s contention that the classical music industry has “died a terrible death”.

I have been buying recordings of classical music for over a quarter of a century. The range of recordings from which I can choose now is far wider and more diverse than that to which I had access ca 1980. When I was getting “serious” about classical music I developed an interest in music that was, if not exactly obscure, at least well off the beaten track – Charles Ives, for example, or John Foulds. Back then, even with the limited funds available to me, I could afford to own practically all the readily available recordings of music by those composers. Now, I would need a second mortgage to buy the CDs and a second home to house them. Not only is it easy to find recordings of the major (and some of the minor works) of lesser known composers, but in many cases there are multiple recordings available. These days, when I flick through Gramophone magazine, or listen to CD review on R3, I regularly encounter numerous recordings of music by composers of whom I’ve never even heard. Performers are also better represented these days. I remember back in 1980 trying to find records of Furtwangler for example, and Solomon. These days they are far easier to find.

I cannot understand, therefore, why you and Lebrecht seem to think that the classical music industry has died a terrible death. I realise that you main concern seems to be about the major labels such as EMI and DG. I have a little more sympathy for this point of view – one doesn’t like to think of these high-minded institutions sullying themselves with vacuous crowd-pleasing nonsense. Nonetheless, they continue to put out fine recordings that would pass muster with the most serious and intellectually demanding among us (perhaps even, in some cases, with Mr Norman Lebrecht) and they are reissuing excellent old recordings on mid- and bonus-price imprints which surely is a good thing. If they feel that commerce dictates that they pander to more vulgar and transient tastes then I would say that that is sad, but with my limited understanding of commercial enterprises, I would hesitate to criticise. And if wet-tee-shirted violinists and housewife-choice tenors are necessary to keep reissues of Rosalyn Tureck afloat then it’s no skin off my nose.

I would also take issue with you over your scorn of so-called ‘crossover’ music. It is true that the dread-word ‘crossover’ is used to dignify the most appalling rubbish, and I have little patience for those who insist that we should admire such ventures as they introduce the masses to “proper” classical music. I find it difficult to believe that the people dipping into “Your 100 favourite slushy advert tunes” now will be struggling to come to terms with the Grosse Fuge in a couple of months’ time. Nonetheless, there is a strong tradition of “crossover” music which only the most inflexible and snobbish intellectual would object to. Think of Gershwin, or Ellington. I would also commend Frank Zappa’s loping reggae version of Ravel’s Bolero. I once saw television footage of Dave Edmunds (I think it was) performing a rock guitar-based version of Khatchaturian’s Sabre Dance was which was quite thrilling. I think it’s a safe bet that Gershwin, Ellington and Zappa (though perhaps not Dave Edmunds) have led many people into an appreciation of “proper” classical music.

I think that it should also be pointed out that the kind of “crossover rubbish” to which you refer is by no means new. Our parents and grandparents were listening to Mario Lanza and Joseph Locke and, by all that’s holy, Liberace. Perhaps you remember – if by sad chance you have been unable to forget – a piano player called Richard Clayderman who sold millions of records back in the 1980s. And where would you place artists such as Richard Tauber and John McCormack?

It seems to me that there is nothing new here to worry about unduly. If it is the case that it is mostly the small independent labels that are putting out the most worthy recordings then I fail to see why that is a cause of much regret. You and Norman Lebrecht can tear out your hair. I’m off to Oxford Street to snap up the new recording of the Nielson clarinet concerto and I might treat myself to the Sixteen’s new CD of 17th century polyphony and perhaps some mediaeval music as well. You know, you couldn’t get any of that when I were a lad.

I have to admit that I'm not so worried either. While my tastes (with a few exceptions) generally run to Renaissance and Baroque, and end with Bach, there is more great music superbly performed and recorded that is easily available than I'll ever be able fully appreciate in one lifetime. (And I'm one who generally sticks to just one version of one piece, rather than getting three or four for comparison.)

The other poster referred to music available now that's never been available before, and I have to agree. Naxos's series of Barto performing Weiss's Baroque era lute compositions are up to Volume 8, and the company's price is such that they're practically giving them away.

...EMI Classics UK signs multi-album deal with Myleene Klass...

Ah, now I saw this at a different place and was amazed at the time.