Cedille Records Celebrates Twenty Years

Chicago, Nov. 29, 2009.  Cedille Records, the Grammy Award-winning, internationally distributed classical record label born two decades ago in a student apartment on Chicago's South Side, embarks this month on its 20th anniversary year.

Cedille (pronounced say-DEE) made its debut in November, 1989, with its first CD release, a program of solo piano pieces performed by Chicago-based Soviet émigré pianist Dmitry Paperno. With that initial, small-scale project, Cedille founder James Ginsburg, then 24, launched the first Chicago-based classical record company since the heyday of Mercury Records in the 1950s and 60s.

Since then, Cedille's catalog, which features world-class musicians in and from the Chicago area, has grown and diversified, while attracting critical accolades, an international clientele, and praise from its artists.  Cedille has 115 principal CD titles ranging from solo keyboard works to complete symphonies and operas. These include world-premiere recordings and CD premieres of important compositions, plus the commercial recording debuts of some celebrated artists.

A point of pride for the label is that its regular music downloads are 256 kbps MP3 files, twice the industry standard for sound quality. What's more, in the coming year, Cedille plans to offer premium-priced CD-quality digital downloads in the lossless FLAC format via its Web site (http://www.cedillerecords.org).  In addition, Cedille recently launched a "free-download-of-the-week" feature on its Web site and released a 20th anniversary sampler CD available free to purchasers of physical Cedille CDs in the U.S. and Canada.

"I'm still pinching myself," Ginsburg says, as surprised as anyone that the entrepreneurial sideline he launched as a first-year law student at the University of Chicago would evolve into a record label of international distinction--and that his life's work would be as a classical record producer and label impresario rather than a lawyer. Ginsburg, now 44 and president of the label, also continues to produce most of its CDs.

Ginsburg, who left law school in 1992 to tend to the record label full time, comes from a family of prominent attorneys and legal scholars.  His mother, Ruth Bader Ginsburg, is an associate justice of the U.S. Supreme Court. His father, Martin D. Ginsburg, is a noted tax law authority and professor at Georgetown University Law Center. His sister, Jane C. Ginsburg, is a law professor at Columbia University, specializing in intellectual property rights.

From the outset, Ginsburg says his goal was to showcase Chicago's finest musicians in fresh and imaginative programs on audiophile-quality recordings.  The native New Yorker saw in Chicago an abundance of stellar musicians who were ignored by East Coast, West Coast, and European record labels. With the right recording projects, Ginsburg believed he could advance their careers and serve the listening public in equal measure. Cedille would concentrate on attractive, off-the-beaten-path repertoire overlooked by the major labels. Mainstream classical works would show up rarely--and only in the context of innovative programs by artists who have enlightening and compelling interpretations.

Cedille remains Chicago's only free-standing classical label. (The Chicago Symphony Orchestra has its own in-house recording operation.) Could Cedille have gotten off the ground today? Ginsburg has his doubts, mainly because of the difficulty of securing an effective wholesale distributor to sell to retail outlets.  Physical CDs are still a vital part of the classical record business, even as digital downloads have gained in popularity, Ginsburg says. "There are only a few good independent distributors, and they're not likely nowadays to bother with a fledgling classical label with only a couple of discs in its catalog."

Nathan J. Silverman, PR
JJP

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa