Callas and repetition

A work that the author perhaps did not hear more than once in his [sic] lifetime (as was the case with Beethoven’s Ninth Symphony and the majority of Mozart’s works) becomes accessible to a multitude of people, and becomes repeatable outside the spectacle of its performance. It gains availability. It loses its festive and religious character as a simulacrum of sacrifice. It ceases to be a unique, exceptional event, heard once by a minority. The sacrificial relation becomes individualized, and people buy the individualized use of order, the personalized simulacrum of sacrifice.
Jacques Attali on recording and repetition, in Noise: The Political Economy of Music

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