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Whatever happened to Fritz Brun?


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Author Topic: Whatever happened to Fritz Brun?  (Read 4396 times)
adriano
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« Reply #30 on: July 10, 2019, 06:50:10 am »

I never got rich off any CDs I've recorded. The conditions were always that I have to renounce to neighbouring rights. Klaus Heymann of Marco Polo/Naxos was the first offcially using this method of exploiting his artists. Not to speak about his minimalistic conducting fees... Of course I was paid in the case scores and instrumental parts had to be prepared.
It's a pact with the devil: would you not agree, he would say "then you can go elesewhere". Unknown artists should be happy to be promoted this way. So far, I never got one single concert-hall conducting engegament based on my CDs. Concert agents even turned me down just becase I was working for Klaus Heymann. On the other hand I must be grateful to Klaus Heymann for having "discovered" me as a recording conductor...
All Marco Polo projects I was able to realize were ideas of mine (including its cover pictures' subjects), so I agreed and decided to stay until having reached a quantity of 30 CDs. Actually all the Marco Polo repertoire were ideas of its artists; Klaus Heymann and his consulting wife had no knowledge at all of obscure composers at that time - in other words, we artists (and also some musicologists) alone were the "soul" of this label. They would just say "let's do it" or "no".
Some call me an idealist, some other a much too generous person. But maybe Klaus Heymann was an idealist at that time too. In any case he is a very clever businessman - and his big goal today is to buy up as much as possible media companies and distributors. In a way he is a modern "Citizen Kane".
I even conducted some Marco Polo recordings for free or I brought in some money from sponsors, otherwise they would have been turned down. But there was never a warm thanking word for my devotion and initiative... There is an article about this, called "too obscure!", in the "special feature" chapter of my website.
As far as Brilliant are concerned, I sympathise with them, since they are idealists too - and nice people - and have re-released these Brun recording for free. But compared to Naxos, Guild and Sterling are "poor" labels; all of their productions have to be fully sponsored. Well, in the meentime, also labels like Toccata and many others survive only thanks to fully financed projects. As far as the "big" labels are concerned, Cecilia Bartoli once told me that, for example, her luxuriant Decca booklets had always to be financed by sponsors.
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