How do you evaluate a CD?

[Artem]

How do you evaluate a classical music CD when there are several distinct compositions on it?

Do you rate individual compositions or the disk as a whole?

[Florestan]

How do you evaluate a classical music CD when there are several distinct compositions on it?

Do you rate individual compositions or the disk as a whole?

Always individual compositions. I am an implacable enemy of collectivism. 

It would be helpful, though, if you'd give us an example of what you had in mind when starting this thread.

[VonStupp]

As a younger man, I used to always assess a recording as a complete program, even though CD's had the ability to skip around much more easily than the LP and cassette. Today, I tend to approach works on a CD individually, although I do occasionally take into account the strength of a CD program.

The Supraphon Martinů Field Mass / Janáček Amarus Mackerras recording I heard earlier today is a perfect example of this. I had always listened to them as a pair, and Amarus always suffered as the second work, thus the CD program was always lacking for me. Not too long ago, I listened to Amarus by itself (from that same recording), and I enjoyed it immensely. It works better played individually for me, rather than as a coupling.

VS

[Maestro267]

If a disc has multiple works on it I very rarely listen to all or even some of them back to back. There has to be a clear break from one work to the other, just as they were composed. For me, that clear break is, if not removing the disc and moving on to something else, then certainly stepping away from the computer for a bit and returning later to listen to the next work.

[71 dB]

Depends on the programming.

If it is a Buxtehude Cantata CD of six cantatas each about 10 minutes long and of equal quality and importance I evalute the disc as a whole, but if it is a "warhorse" symphony + one or two "fillers", I evaluate it by distinct compositions.

[Pohjolas Daughter]

I agree with the comments here about needing to take a break between works and/or listen to something quite different between works.  I like to let them "breathe". 

PD

[Mirror Image]

How do I evaluate a CD? Simple: I look at it and make there aren't any blemishes on it and then I insert it into the CD player.

[Brian]

Since we're talking about CDs with multiple works, I'll speak up for artists who deliberately "curate" recitals with multiple works around a theme, or works which pair well together, or a recital that tells some kind of story. The example I always use is pianist Matan Porat's "Variations on a Theme of Scarlatti," which starts with a simple Scarlatti sonata and then goes through loads of music from every era which sounds similar to it in some way, from Grieg and Mozart to Kurtag and Ligeti, before returning back to the original piece at the end.

But there are plenty of other great examples too. Michael Tilson Thomas's early DG recording of pioneering American orchestral music. Steven Isserlis' recent attempt to reconstruct one of Proust's musical salon nights. Or a disc of great pops overtures.

Much like at a museum or in a book of poetry, intelligent curation can be a big reward.

[Todd]

Much like at a museum or in a book of poetry, intelligent curation can be a big reward.

This.

[Karl Henning]

Since we're talking about CDs with multiple works, I'll speak up for artists who deliberately "curate" recitals with multiple works around a theme, or works which pair well together, or a recital that tells some kind of story.

Many such live programs indeed.

[prémont]

How do I evaluate a CD? Simple: I look at it and make there aren't any blemishes on it and then I insert it into the CD player.

What can I say? I do it in just that way.

[Mirror Image]

What can I say? I do it in just that way.

[San Antone]

Since we're talking about CDs with multiple works, I'll speak up for artists who deliberately "curate" recitals with multiple works around a theme, or works which pair well together, or a recital that tells some kind of story. The example I always use is pianist Matan Porat's "Variations on a Theme of Scarlatti," which starts with a simple Scarlatti sonata and then goes through loads of music from every era which sounds similar to it in some way, from Grieg and Mozart to Kurtag and Ligeti, before returning back to the original piece at the end.

But there are plenty of other great examples too. Michael Tilson Thomas's early DG recording of pioneering American orchestral music. Steven Isserlis' recent attempt to reconstruct one of Proust's musical salon nights. Or a disc of great pops overtures.

Much like at a museum or in a book of poetry, intelligent curation can be a big reward.

Nicely put, and summarizing my own thoughts. 

I immediately thought of the Thomas Demenga recordings of pairing a Bach cello suite with one or two 20th century works; and I also recently enjoyed that Proust salon recording.

I am almost always interested in a curated CD, i.e. if I am intrigued with the theme or concept, instead of a complete set of preludes, sonatas, or similar kind of CD (set) which I kind of see as an archival document. 

Both obviously have their purpose and enjoyment quotient.

[Pohjolas Daughter]

Since we're talking about CDs with multiple works, I'll speak up for artists who deliberately "curate" recitals with multiple works around a theme, or works which pair well together, or a recital that tells some kind of story. The example I always use is pianist Matan Porat's "Variations on a Theme of Scarlatti," which starts with a simple Scarlatti sonata and then goes through loads of music from every era which sounds similar to it in some way, from Grieg and Mozart to Kurtag and Ligeti, before returning back to the original piece at the end.

But there are plenty of other great examples too. Michael Tilson Thomas's early DG recording of pioneering American orchestral music. Steven Isserlis' recent attempt to reconstruct one of Proust's musical salon nights. Or a disc of great pops overtures.

Much like at a museum or in a book of poetry, intelligent curation can be a big reward.

Good point!  I hadn't thought about curated/themed CDs (or LPs for that matter) as (off the top of my head) I have very few of them.  I do appreciate several Kronos CDs which I think are quite interesting and well thought out plus some live recordings that I have (like Ivan Moravec's "Live In Prague") which I normally listen to straight through.

PD