D. Stephen Heersink said:

>I suspect that the enormous recording costs borne by the recording
>studios makes classical repertoire too expensive for anything but the
>instrumentalist, chamber works, and some vocal.  Orchestral and choral
>works have become too expensive, especially given the salaries and
>honoraria the bigger orchestras charge.  Indeed, word has it that to pad
>their pockets even further, some of the larger orchestras are going to
>record for their own label and cut out the recording artisans altogether.

Apart from the very small ranks of superstars who do get outrageous fees,
I think the vast majority of recorded musicians do not get their pockets
'padded', nor do many of the actual ensembles.

For most of these musicians, their only income is from recordings and
live concerts.  Neither pay well - considering that these are the only
incomes for these people.  Along with all the normal cost of living, add
the effect of the money spent in years and years of training, the cost
of the instruments and upkeep, the insurance etc.  Don't forget that most
ensembles are based in places that are expensive for living and travel -
I know musicians who find finding a place to live one of the hardest -
they've got to practice somewhere, and many landlords and neighbours don't
want to hear 3 hours practicing each day.  What happens if they become ill?
Where's the pension schemes?

There are very few people (performers, ensembles, labels, record stores)
making vast profits from classical music.  Period.

I think the vast majority of participants in the whole process are doing
it because they enjoy the end result of the performance and continuation of
classical music.  If we wanted to be rich, we wouldn't be in this business.

Some have pointed out in the thread about Tower Music that they find the
second hand market promising, now that Tower seem to be selling 2nd hand
good as well.  I find it self defeating - by buying second hand there is no
further funds going to record labels (which will get the support from many
buyers).  Surely someone who welcomes second hand rather than new product
has little ground in joining the chorus of complaints regarding the labels
bringing out less and less new product.  It's a self-defeating cycle, where
the blame lies both with the 'average' label and the 'average' punter.

Many are pointing to the sharing of music on the internet being the future.
I don't agree.  Sure, someone recording something and releasing it in
public domain on the internet will get a larger audience.  I'll go for free
any time.  As soon as that person wants to make money out of his product,
many will just surf for the next free thing.  Getting things for very few
pennies is all very attractive - but how do the musicians eat?

Dave Mepham