I am flattered that Kevin Sutton refers to me as a reliable source on
the subject of recording costs etc.  but I'm afraid that I have not been
following this thread (high-season here = too much work) so am not sure
how to respond to that part of his last note to D.  Stephen Heersink.

I note that Norman Lebrecht has spoken on the List - and I'm sure he's
better qualified than I am, though I doubt he has the time!

I repeat that in my experience orchestras, or rather orchestral musicians,
do not receive royalties on record sales.  They are paid for sessions at
rates established (in UK, USA and elsewhere) by their unions.  In the event
that they carry out some recording work outside their union's rules (it has
been known) then they may share the cash amongst themselves.  But none of
this, in so far as UK is concerned, is sufficient and means that orchestral
musicians generally accept as much work as they can get to make ends meet.

Thus with travelling, sessions, rehearsals and evening concerts their lives
are rather hard.  It thrilled me at the same time as it saddened me when I
listened again to the BPO at the Proms under Haitink (the RAH concerts were
repeated on BBC R3).

The magnificence of the BPO "live" was truly stupendous (even allowing for
2-3 fluffs in the brass in the Bruckner 7) - and then last night to find
oneself saddened in hearing the excellent BBC SO (Beethoven 9/Haitink
again) and realising just what money and good working conditions do for
Berlin compared to London.

John G. Deacon
Home page: www.ctv.es/USERS/j.deacon