by Norman Lebrecht

http://www.scena.org/columns/lebrecht/060612-NL-crash.html

A large chunk of masonry fell off the music industry last week when Warner shut down its
classical operation, throwing 40 artists onto the street.

The execution was conducted in the usual way, without the slightest consideration for cultural consequences. An empty suit in Hollywood rang a tight-run office in London and told them to stop everything and sack the team

This is utterly tragic. It's hard enough to get popular music launched, but this makes the position of young classical artists virtually impossible. We all know how hard it is to launch new popular music, however excellent, but progress is possible if you are tenacious and the product is good - or even sometimes if it's not! However, consider this: We know a very fine classical violinist. He is world-class, as good as it gets, and is getting absolutely nowhere. He can run rings round popular figures like Nigel Kennedy and Vanessa Mae - but there is nowhere for him to turn. Competition for concerti, even for concerts with amateur orchestras, is fearful and there are dozens of hopefuls for any opportunity, paid or unpaid. Like the rest of the music industry, it's Who You Know. Unlike an unsigned band, he can't turn up at the local pub/music venue and do his thing to make a name for himself and hiring concert halls without an accredited profile is (a) usually impossible and (b) hideously expensive, so opportunities to play and be heard/reviewed are extremely few and far between.

Record shops have reduced their classical choices to a tiny selection of old favourites (that anyone who is into classical music would have anyway) and a pile of dumbed-down compilations (1 movement of this, one movement of that, a la ClassicFM) - you have to go to Amazon or specialist websites to obtain anything even remotely obscure.

When all is said and done, classical music has always been the cornerstone of the music scene. Even new popular artists 'steal' classical samples because the sounds are so damn good (Jem, anyone? Wasn't that the 60s group King Singers doing acoustic Bach?) or (going back a bit) Groovy Kind of Love was actually a Clementi sonata - no copyright issues there! It's a travesty that so few people these days take an interest and that classical musicians have become so marginalised. After all, it's about education. The masses will buy what they are fed. When Pavarotti sang Nessun Dorma for the Rugby, people rushed out to buy it. They also buy James Blunt and Sandi Thom - because they are told to do so by the media. When you consider the years of training and dedication that are needed to make a fine classical performer, and then look at the number of pop/rock/indie acts that are raking in the money, who truly sound as if they picked up a guitar for the first time last week - can't sing, can't play, but for some reason have attracted major record label investment - it's enough to make you weep!

So, where do classical artists turn now?

Aren't there lots of independent labels for classical artists like Naxos?

For known orchestras and singers there is the possiblity to release (concert) recordings on their own labels.

The major labels didn't invest in new artists since the 60s. Only in cross over acts (Nigel Kennedy), freaks (David Helfgott) and media-created acts like the three tenors.

Decca bought the rights (audio/video) to the first concert by the three tenors for only $500.000.

For the rights to the second cd Warner had to pay 11 million pounds.

Laurence VITTES

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