The Grammy nominations are out, and as often happens, the list is rather rife with surprises, with what might have seemed more central fare often edged out (with telling exceptions such as Simon Rattle's Rite of Spring). Relatively small labels like 2L and ArtistShare have multiple nominations, while indie giants like Harmonia Mundi, Hyperion and BIS getting few or one. Or none.
Some industry watchers from classical music find the Grammys perplexing, even frustrating given the magnitude of the Grammys brand, and the idiosyncratic nature of the nominations list may be to blame for what has often been a small actual sales bump experienced by the winners.
That said, the classical industry will cheer a posthumous nomination for the late Colin Davis. And the amount of exposure for new music is vital for classical music's future (Thomas Adès' opera The Tempest even gets nominated for its second recording in quick succession, following the world premiere issue on EMI). And there will be mixed, and deep, emotions about a nomination for the beleaguered Minnesota Orchestra--genuine delight tinged with genuine sadness at the band's continuing travails.
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