I very much like Hilary Hahn's Stravinsky, Meyer and Bach, so gagged
at Karl's remark about her.  Also, I had mixed feelings reading one so
concerned about the commercial viability of CM asserting that Berkshire
is the main recipient of his CM-purchasing funds.  They eat up lots of
my income, too, but I'm not 100% comfortable with it.

But let's leave those aside and stick to another concern.  Previously,
I'd asked if Karl was suggesting that:

>>... Naxos's very presence runs counter to the business viability of CM?

To which you replied:

>No, I believe they realistically represent the market, one which, makes it
>difficult for musicians to make a living from their music.

Don't the smaller outfits ease things for them?  Does the majors' system
of high-priced, much-marketed stars and recordings promote musicians'
interests?  I'd guess that the majors make things harder for the majority,
while letting some live like aristocrats.

After all, there are many more proficient musicians than ever before --
didn't I hear on this List that the standards for entry into a symph
orchestra in the 30s-50s were well below those for first-year students
in good music institutes?  -- and all are chasing the same few dollars.
One of every 4 CDs sold in stores is now a Naxos, and I'd think it would
be better to see more opportunities around, even if they may entail less
exhalted status for that greater number of musicians.

>>...pity that Lyrita was so laughably over-priced: they had at least
>>one very nice recording of LB's fine symphonic works, but single-handedly
>>stifled any chance of Berkeley fandom through outrageous pricing ...
>
>The real question for me, as a producer, is, would a CD of Berkeley's
>music actually sell twice as many copies at half the price. I don't know
>the answer to that question,...

I can't address this with authority, as an industry insider like Karl
might; reasonable conjecture's going to have to do, again.  Berkeley's
largely unknown, it seems to me, due to the sparse history of his CD
recordings: few know him as he's been badly served by more-than-full-price
labels (Lyrita), and due to baffling marketing by full-priced ones
(Chandos, with its dual-composer releases).  So my reply is: half of
near-zero attention still leads to a near-zero result.

But once available in a budget recording -- e.g., the budget Hyperion
I'd mentioned -- my guess is that the interest in Lennox Berkeley is
likely to increase.  Further, I'd argue that greater exposure to the
composer will probably assist the labels in the long run, not just
musicians and listeners.

Take Geirr Tveitt: after the first pair of Naxos releases I'm sure the
Bis label was very happy, as many of us rushed out to buy their CD of
his symphonies.  Since then, they've also released a CD of his violin
concertos.  My guess is that Tveitt would sell moderately well for Bis
at full price -- slowly trickling out the word about him.  But after the
plebs got wind of him through Naxos, we turned to Bis, buying up their
stock and probably helping to prompt the search for new Tveitt material.

>Labels like Vox, Naxos and other earlier budget labels like
>Remington, Varsity, Plymouth, Laserlight, etc. showed it can
>be done, yet it appears that Naxos has shown how to succeed
>as a business and be true to the art. While I don't know the
>innner workings of it all, I would suspect that having their own
>distribution is key to the business side.

I believe they boast of never letting anything go out of print/become
no longer available.  Might taking a longer view of profit-making be a
secret of that success, too?  I think only Bis makes the same boast.

>For me, another part of the equation is the snob factor. Classical music
>is and has been marketed to some extent, as something for the rich.

For my part, I think the sooner this myth is put to rest, the better.
Firstly, it perpetrates a lie: "only 'tellugent, ejicated people enjoy
that music, or pretend to ...so it's not for me." The sooner everyone
learns that CM may delight anyone who likes music and is attentive
and patient, the brighter the prospects for CM.  Another side of the
same coin is that this "snob appeal" has bad effects in a levelling,
anti-elitist age such as ours, when the merest hint of putting on airs
of any kind, or even the perception that they're there, just raises
hackles and derision.

>No doubt in my mind that Hahn doing Bach on DG would sell better than
>Hahn doing the Creston Violin Concertos on Naxos.

Aside from the issue of artistic merit/suitability that you're raising,
there's a strictly commercial point worth pondering here: 'sell better'
for whom?  For the label in terms of big, immediate dollars?  What about
'selling better' for the other parties: the composer, listener, and
artist?  Jeno Jando and Idyl Biret may not be at the very top of their
fields, but globally they are likely the best known/most heard.  What
satisfaction for them that they've thrown open musical windows for so
many millions.  While they and many of their colleagues earn a living
without a plush contract with the majors, what satisfaction, too, for
their label over the longer term: since what's already commercially
viable is also likely to continue to sell for years to come.

Bert Bailey