Klarinet Archive - Posting 000252.txt from 2000/08

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] My memory did not deceive me after all
Date: Fri, 11 Aug 2000 12:31:03 -0400

Kenneth Wolman lamented:

<<<I recall people here talking to Gigliotti at ICA gatherings about
lobbying SONY to reissue the two First Chair recordings (doesn't he play the
Premiere Rhapsodie on the second?); and I indeed wrote to SONY and asked in
my most respectful manner that they consider doing so. What I got back was
exactly nothing, not even an acknowledgement.

I realize the classical end of the music business is in big trouble in an
age that values megabucks above all else, and where A&R seems to be managed
by a bunch of guys who would be better-placed in some dot-com computer
startup. I don't know who else on Klarinet or in the ICA (I joined recently
myself) has knocked on SONY's doors about these legendary performances (I
mean, William Kinkaid? Marcel Tabeteau?), but perhaps there is SOME way to
exert influence on whatever powers exist...from within the present orchestra
management itself...from Gigliotti himself.... How does one replace the
irreplaceable?>>>

I've often wondered why this happens. On the one hand, I completely
understand the record companies' reluctance -- they are in the business of
making money, not preserving cultural artifacts. The conductor of my
orchestra recently related an anecdote of a recent recording by the Berlin
Philharmonic that sold less than a thousand copies worldwide; when you
contrast that with the considerable success of, say, Britney Spears, there's
no economic wonder as to why these companies do what they do.

This hits home. My orchestra spent an enormous amount of time and effort
recording Alan Hovaness' 15th Symphony for Koch about three years ago -- it
has yet to be released, even though the recent maturation of his estate plan
(that's how lawyers refer to dying) should have sparked some interest. The
members of the orchestra have already ordered over 1,000 copies of the disk,
so there is an almost certain coverage of costs to get the thing edited and
printed. But like the rest of the art music recording industry, Koch is
strapped for cash and we wait. Meanwhile, rap stars named after small
candies rake in big bux.

>From a business standpoint, the reason is systemic and therefore difficult.
The bottom line is that there is only so much art music that people will
buy, and that virtually all of it is already recorded. I personally own
over 600 "classical" CDs (and then the jazz . . . ); with four recordings of
Mahler's 5th, it's a real hard sell for me to buy another one. (My wife =
my economic conscience).

. . . but there is some hope. First, anyone can come in and re-release old
recordings, as long as they pay the statutory royalty to the copyright
holders. Summit recordings is releasing all kinds of cool old stuff in this
manner. (Unfortunately, they're a bunch of brass players . . . ) Perhaps
someday they or one of their ilk will release the gems.

Of course, the big record companies could help this out by providing the
folks like Summit with the original master tapes, which would greatly
enhance our enjoyment. But they typically won't -- but won't release the
good stuff either.

Sigh.

kjf

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