The Art-Music, Literature and Linguistics Forum
March 29, 2024, 10:42:11 am
Welcome, Guest. Please login or register.
Did you miss your activation email?

Login with username, password and session length
News: Here you may discover hundreds of little-known composers, hear thousands of long-forgotten compositions, contribute your own rare recordings, and discuss the Arts, Literature and Linguistics in an erudite and decorous atmosphere full of freedom and delight.
 
  Home Help Search Gallery Staff List Login Register  

Whatever happened to Fritz Brun?

Pages: 1 2 [3]   Go Down
  Print  
Author Topic: Whatever happened to Fritz Brun?  (Read 8032 times)
0 Members and 1 Guest are viewing this topic.
adriano
Level 2
**

Times thanked: 3
Offline Offline

Posts: 27


View Profile
« 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.
Report Spam   Logged

Pages: 1 2 [3]   Go Up
  Print  
 
Jump to:  

Powered by EzPortal
Bookmark this site! | Upgrade This Forum
SMF For Free - Create your own Forum


Powered by SMF | SMF © 2016, Simple Machines
Privacy Policy