Scott Foglesong nennt Naxos Music Library (NML) „die Klassik-Hörbibliothek par excellence“

Die Streaming-Service-Plattform NML wird von Scott Foglesong für Liebhaber der Klassischen Musik als die Nummer 1 unter allen netzweiten Anbietern bewertet. Scott Foglesong ist Vorsitzender der Fakultät für Musiktheorie am Konservatorium San Francisco. Er unterrichtet in Berkeley und berät als Fachmann auch das San Francisco Symphony Orchestra. Bei seiner Expertise auf dem Portal www.examiner.com hebt Foglesong nicht nur die unübertroffene Breite und Tiefe des Repertoires 26,695 unterschiedliche CDs mit insgesamt 380,787 Tracks) von NML heraus, sondern lobt auch den edukativen Anspruch des Services und dessen Umsetzung.

Auch das Preis-Leistungs-Verhältnis und die technische Umsetzung erhalten von Foglesong Höchstnoten. Geradezu ins Schwärmen gerät Klassik-Kenner Scott Foglesong jedoch bei der Erwähnung der Recherche-Möglichkeiten: Dort seien nicht nur 16 Komponisten mit dem Namen Bach aufgelistet, sondern sieben, die mit Q (ohne ein darauf folgendes U!) beginnen und gar 15, die auf den Namen Adams hören.

Die vielfältigen Möglichkeiten, die gute Soundqualität, die einfache Handhabung, das Preis-Leistungs-Verhältnis, die Vielfalt bzw. Umfang des Repertoires sind für Scott Foglesong eindeutig ausschlaggebend dafür, das NML bereits jetzt von so vielen, aus allen Bereichen des Musikbusiness kommenden Fachleuten, aber auch von privaten Klassik-Liebhabern genutzt wird.

Den ganzen Artikel von Scott Folgelsong können Sie unter der Überschrift: „The classical listening library par excellence“.

Here is a review from Tribune Magazine by Scott Foglesong on Naxos Music Library

That service is the Naxos Music Library, coming to you from the same folks who run ClassicsOnline, an excellent download site mentioned several times in the past in this column, such as here and here…

… Although Naxos itself is the dominant label on the NML (as you would expect), many other independent labels join in, including such well-known classical companies such as Ondine, Capriccio, Hungaraton, Hänssler, Klavier, and many more…

… The fine folks at Naxos seem to have been aware that the NML would be a worthy subscription for almost any music library, and as a result, the service sports a strong educational component…

… the “Study Area” is directed towards secondary-school students, they are an invaluable resource for anyone who would appreciate a gracious look and listen through music history. I notice the beginnings of a World Music section as well — bravo!…

Read more.

The Naxos Spoken Word Library is truly the unique treasure of our online libraries offering over 600 works and stories from Naxos Audiobooks. Focusing largely on literary classics, timeless authors and playwrights come alive through these spoken texts.

Naxos’ Spoken Word Library includes content ranging from medieval times to the twentieth century. Many newer texts supplement an always expanding range of non-fiction. Users may browse both abridged and unabridged titles from Shakespeare, Joyce, Austen and numerous others.

The database also includes valuable educational products, which focus closely on opera libretti and the lives of the great composers. Educators will find the database invaluable for literature courses and music appreciation.

Most of the selections are also available to listen and follow on screen text providing a comprehensive presentation of the literature. Because of this feature, the Spoken Word Library is an outstanding language-teaching facility. Many institutions incorporate the database into programs for individuals who are learning English as second language.

The most valuable collection of literature in history, constantly expanding content and countless educational possibilities sum up the priceless package that is the Naxos Spoken Word Library.

We focus on the great composers and what they produced, but we have to remember that they worked within a very complex and competitive music society.

Mozart listened to Haydn, but he also listened to composers such as Dittersdorf; Bach walked miles to hear Buxtehude; the radical 20th century Viennese composers like Schoenberg and Webern had their roots in the late 19th century composers such as Zemlinsky.

In the 20th century, transnational listening made the world smaller and the music more complex: Takemitsu in Japan influenced composers in the United States, Penderecki in Poland influenced composers in Germany, Maxwell Davies draws his inspiration from sources as disparate as the middle ages and the moderns.