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Doublereed Archive - Posting 000024.txt from 2005/07
From: "Harry Searing" <hsearing@-----.net>
Subj: [DR-L] RE: Retailing new music
Date: Sat, 16 Jul 2005 01:17:08 -0400
I'd like to respond to or discuss further a couple of points in Phil's
email. I'll insert my comments after my initials - HGS: Harry Searing
Phil wrote:
Hi -
We've had two sheet music retailers close shop in the last year in the
SF Bay
Area (Tupper & Reed, Byron & Hoyt). In talking to one of the store
owners, I
was kind of shocked to hear that publishers often give retailers a sort
of
"all or nothing" choice in carrying their product. (Welcome to the real
world,
Phil!) This sort of bullying seems like it may be back-firing, if by
doing so it
hampers efforts by the retailer to carry product it deems most relevant
to
its customer base.
HGS: Well, Phil, that's only hearing one side of it, the retailer's. And
knowing a little bit about the stores in question and the printed sheet
music industry in general, I'm sure it wasn't solely the publishers'
policies concerning dreaded "new issues" that caused those stores to
close. I think every year I've been in the printed sheet music industry,
some retailer cries out about the "injustices" of new publications from
the publishers. It's a knee jerk reaction usually meant to cover some
other problem. But, Mozart's Bassoon Concerto was a "new publication" at
some point. Same as Rite of Spring.
Also, at least as far as my experience browsing the oboe bins for new
work, I
feel it is difficult to judge the quality of a new or unfamiliar work,
and
this leads me to be very wary about taking risks with new pieces. It
seems there
is a lot that could be done to create more of a comfort zone for
customers
interested in occasionally trying out new works.
HGS: You then need to find an enlightened retailer, one that offers
either a return privilege or on approval or perusal copies. I think
Trevco does this, perhaps Eble. Not too many offer this because it's a
service that has a cost to the dealer that is difficult to quantify, and
can take up a lot of time manage.
Some of my ideas (maybe some stores already do this): publisher could
provide
a .MP3 or .WAV file or something that could be listened to as an example
of a
performance; small practice rooms or keyboards with head-phones could be
provided for trying out music; at the least, the music itself could
contain
written descriptions and/or endorsements. Concerning the latter, it
seems like most
new music has almost no text at all, except maybe a list of University
degrees
or Grants or Awards the composer has collected--not exactly the most
helpful
or credible stamp of quality, I've found, as this often says vary little
about
taste, more about ideology (IF one is familiar with the associated
institutions).
HGS: Good idea, but who's going to make these files? The publisher? They
don't always have them or the ability to produce them. It's another
expense also, something publisher's don't need or want. Composer's might
have them. But then if either the dealer or the composer has an MP3 or
WAV file of their wonderful new composition, how to get it into the
hands of the retailer? And then, does the retailer have the equipment,
manpower, space, ability, etc. to make them available to the end user?
That's not to say some retailers don't offer this service, but it's
usually in the area of band or choral music, where in the US they sell
much more music than in the area of instrumental music, typically a very
small percentage of their sales.
Maybe it is expected that a performer should be able to tell what they
have
by reading the music in the store, but even with my University training
and
composing experience, I find this only goes so far, especially with work
that is
more complex harmonically.
It seems to me there are a lot of dedicated amateur musicians who would
be
more willing to buy new music if there were some common sense provisions
made
for them. Talking about the benefits of the "free marketplace" serving
the
greater public good seems absurd, though if it is corrupted by the
bullying tactics
I hear that are being used, rather than practices that actually help a
customer know what it is they are buying. Or maybe it isn't, as the
retailers are
perhaps languishing as should be expected given the current practices.
HGS: What about the successful retailers that are dealing with the
publisher's "bullying tactics"? They seem to be surviving. Maybe there
are other factors that have contributed to the SF shops closing. Just my
two cents worth - Harry
- Phil Freihofner
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