The Vienna Philharmonic Orchestra’s New Year’s Day concert is one of the most watched classical events on world television. Sony today snapped up world rights from 2012 on as a token of its renewed commitement ot classical music.

Or is it? The annual surfeit of Strauss waltzes is chiefly popular in Japan, South Korea and neighbouring Asian economies. It has little popular appeal in the US and is in evident decline in Europe. Even stuffed with turkey, carp and other seasonal fattenings, how many Strausses can the average citizen watch before screaming for an end to the waltzer torture?

Sony’s rivals at Universal Music need not lose much sleep. The last time Sony did a deal with the Vienna Philharmonic 20 years ago it nearly bankrupted the label, putting it into creative somnolence until some recent twitchings of residual life.

The press release shows four contract signatories, only one of whom can successfully knot a tie.

 

Sony Music is the Vienna Philharmonic’s New Partner for the New Year’s Concert

 

NEW YORK, Aug. 31 The Vienna Philharmonic’s New Year’s Concerts are the world’s most watched classical events. Starting in January 2012, the concert recordings will appear on Sony Classical. The contract, signed last week in Salzburg, encompasses releases on CD, DVD and Blu-ray.

The New Year’s Concert is broadcast from Vienna‘s Musikverein to over 70 countries and reaches more than 40 million television viewers. The resulting recordings with works from the Strauss dynasty and their contemporaries are among the classical market’s most important releases.

Prof. Dr. Clemens Hellsberg, Chairman, Vienna Philharmonic:

“The Vienna Philharmonic is delighted to have found in Sony another prominent partner for our audio and video recordings. We are confident that the New Year’s Concert will be enjoyed by an even wider audience thanks to our collaboration with Sony.”

Rolf Schmidt-Holtz, CEO, Sony Music Entertainment:

“For millions of people, the New Year’s Concert is an inspiring way to begin the year; it expresses a universal message of hope and friendship for the year to come. The Vienna Philharmonic devotes itself to the Strauss family’s masterpieces and always presents the world with audio and video recordings of great beauty and enormous appeal. Sony Music is proud to be the orchestra’s new partner for these remarkable releases.”

Bogdan Roscic, President, Sony Classical:

“Sony Classical’s catalogue already contains some legendary New Year’s Concerts, including the famous video of Karajan’s only appearance in 1987 and the unforgettable audio recordings documenting Carlos Kleiber‘s two concerts. I look forward to continuing this tradition and also to ensuring that these recordings attain the success they deserve in all markets.”

About Sony Classical:

Sony Classical is the label group in charge of classical music within Sony Music Entertainment, based in New York and Berlin and responsible for the international productions of Sony Classical, RCA Red Seal and Deutsche Harmonia Mundi, as well as a vast catalogue that goes back to Enrico Caruso. Sony Classical is the home of artists such as Yo-Yo Ma, Nikolaus Harnoncourt, Lang Lang, Joshua Bell, Murray Perahia and Vittorio Grigolo, as well as containing the musical legacy of Glenn Gould, Arthur Rubinstein, Vladimir Horowitz, Arturo Toscanini and Leonard Bernstein.

 

 

At the closing performance of the Glyndebourne season, chairman Gus Christie announced that Vladimir Jurowski was leaving in three years (as tweeted by Jessica Duchen). By then he will have put in 13 happy years and kept Glyndebourne fresh and challenging throughout, deepening the Wagner content, introducting Russian operas and generally being there through each summer as a hands-on musical leader. The ever-rising Juro will be just 41 when he moves on.

That year, 2013, will also be Antonio Pappano’s last at Covent Garden. There will be plenty of press chatter in the years ahead about likely contenders and I don’t intend to waste this space on idle speculation. That said, you’d have to be a slow-witted Martian with mobility problems not to spot that the timing of the two departures looks just perfect for the Metropolitan Opera.

The Met will need strong candidates to be free when it has to get to grips with James Levine’s health problems and its artistic future. Those issues cannot be dodged much longer. It helps that there are now two hats in the ring, each with an outstanding international record.

   

At the closing performance of the Glyndebourne season, chairman Gus Christie announced that Vladimir Jurowski was leaving in three years (as tweeted by Jessica Duchen). By then he will have put in 13 happy years and kept Glyndebourne fresh and challenging throughout, deepening the Wagner content, introducting Russian operas and generally being there through each summer as a hands-on musical leader. The ever-rising Juro will be just 41 when he moves on.

That year, 2013, will also be Antonio Pappano’s last at Covent Garden. There will be plenty of press chatter in the years ahead about likely contenders and I don’t intend to waste this space on idle speculation. That said, you’d have to be a slow-witted Martian with mobility problems not to spot that the timing of the two departures looks just perfect for the Metropolitan Opera.

The Met will need strong candidates to be free when it has to get to grips with James Levine’s health problems and its artistic future. Those issues cannot be dodged much longer. It helps that there are now two hats in the ring, each with an outstanding international record.

   

On tonight’s edition of the Lebrecht Interview, Sir Clive Gillinson charts his progress from the second desk of cellos in the London Symphony Orchestra to the leadership of the world’s most prestigious concert hall…. a rags-to-riches story to warm every musical heart.

Or is it? The job may carry a million-dollar tag – the actual salary, Clive clarifies, is much lower than that – but there are high pressures to perform and deep infrastructural flaws. We had a discussion about the hall’s stagehands and electricians, five of whom take home $400,000. Clive explained that the union theatre agreements are city-wide and cannot be tackled unilaterally by a single venue.

Back in England, he continues to attack the Arts Council’s refusal to recognise excellence, funding all London orchestra at roughly the same level regardless of whether they rehearse much or not.

Catch Clive at 9.15 tonight on BBC Radio 3, and streamed for the next week.

The season’s final Lebrecht Interview, next Monday, is a man who has never spoken on British radio before.

On tonight’s edition of the Lebrecht Interview, Sir Clive Gillinson charts his progress from the second desk of cellos in the London Symphony Orchestra to the leadership of the world’s most prestigious concert hall…. a rags-to-riches story to warm every musical heart.

Or is it? The job may carry a million-dollar tag – the actual salary, Clive clarifies, is much lower than that – but there are high pressures to perform and deep infrastructural flaws. We had a discussion about the hall’s stagehands and electricians, five of whom take home $400,000. Clive explained that the union theatre agreements are city-wide and cannot be tackled unilaterally by a single venue.

Back in England, he continues to attack the Arts Council’s refusal to recognise excellence, funding all London orchestra at roughly the same level regardless of whether they rehearse much or not.

Catch Clive at 9.15 tonight on BBC Radio 3, and streamed for the next week.

The season’s final Lebrecht Interview, next Monday, is a man who has never spoken on British radio before.

Just under six months ago, the world’s hottest conductor shocked the music industry by walking away from his management agency and joining a rival firm.

Resisting appeals from Simon Rattle and others, Gustavo Dudamel followed his close friend and agent Mark Newbanks out of AskonasHolt to join former IMG chief Stephen Wright at the newly reconstituted Van Walsum Management. It was a huge coup for Wright with Newbanks, a former cellist, taking over as head of artist management and heir apparent.

That was then, this is now.

Last night, after tense discussions, Newbanks issued his notice to quit Van Walsum to set up on his own. And Dudamel, ever loyal, is following him into the unknown.

Why Newbanks had to go is unclear and both sides are keeping lips tight. But my ear to the ground picks up whispers that the sensitive manager was unhappy at the flak he was taking from old-time Van Walsum staff and artists and decided, with the Dude, that he would be better off without having to manage people had had not chosen himself.

It’s a tough call and he is going to face a difficult time establishing himself with only one artist, albeit the most desirable on earth. Dudamel is unlikely to suffer from the backlash.

Wright and Van Walsum are reeling from the defection, coming as it does close on Costa Pilavachi’s departure to head the classical division of Universal Music. But the company has moved swiftly to reshuffle its top team, with Wright taking a more hands-on role and major changes planned in the very imminent future.

So no winners, no losers? Not quite. The music business itself is the loser.

Every time a major artist like the Dude sets up independently outside the infrastructure, the business falls deeper into disintegration. Events of the past few months, reported here, reveal the old guard to be in dangerous flux. This latest move won’t help, and there’s more to come.

Just watch this space.  

Just under six months ago, the world’s hottest conductor shocked the music industry by walking away from his management agency and joining a rival firm.

Resisting appeals from Simon Rattle and others, Gustavo Dudamel followed his close friend and agent Mark Newbanks out of AskonasHolt to join former IMG chief Stephen Wright at the newly reconstituted Van Walsum Management. It was a huge coup for Wright with Newbanks, a former cellist, taking over as head of artist management and heir apparent.

That was then, this is now.

Last night, after tense discussions, Newbanks issued his notice to quit Van Walsum to set up on his own. And Dudamel, ever loyal, is following him into the unknown.

Why Newbanks had to go is unclear and both sides are keeping lips tight. But my ear to the ground picks up whispers that the sensitive manager was unhappy at the flak he was taking from old-time Van Walsum staff and artists and decided, with the Dude, that he would be better off without having to manage people had had not chosen himself.

It’s a tough call and he is going to face a difficult time establishing himself with only one artist, albeit the most desirable on earth. Dudamel is unlikely to suffer from the backlash.

Wright and Van Walsum are reeling from the defection, coming as it does close on Costa Pilavachi’s departure to head the classical division of Universal Music. But the company has moved swiftly to reshuffle its top team, with Wright taking a more hands-on role and major changes planned in the very imminent future.

So no winners, no losers? Not quite. The music business itself is the loser.

Every time a major artist like the Dude sets up independently outside the infrastructure, the business falls deeper into disintegration. Events of the past few months, reported here, reveal the old guard to be in dangerous flux. This latest move won’t help, and there’s more to come.

Just watch this space.  

Michael O’Leary’s budget airline is not very nice to musicians. Almost 13,000 have banded together on Facebook to form Musicians Against Ryanair, complaining of rudeness, discomfort and an intolerance for musical instruments in the passenger cabin.

That protest has just acquired official backing. The Incorporated Society of Musicians issued a press release today, reporting the case of a 12 year-old girl who was turned off a flight after being refused permission to carry her small violin on board. The ISM warns musicians to beware of the Ryanair experience. Maybe not just musicians.

 

Press release follows: 

Young girl stopped from boarding Ryanair flight with violin

Musicians are being warned to take extra care when planning air travel with their instruments.

The advice comes after several reported cases this summer of musicians being targeted by airline staff. In one instance, twelve-year old music student Francesca Rijks, who studies at Chetham’s School of Music in Manchester, was turned away with her violin at the boarding gate of a Ryanair flight returning to the UK from Germany. Her parents were told the violin was not allowed as hand luggage, and were given an ultimatum to either put the violin in the baggage hold of the plane, which would cause irreparable damage to the instrument, or to purchase an additional seat at a cost of 230 euros. This was despite the fact they had received confirmation from the Ryanair customer service department (prior to purchasing any tickets) that the instrument would be accepted. They had also checked in without problems.

Francesca’s father Harmen Rijks said ‘This was an absolute disgrace! Their policy appears to discriminate against violinists, the vast majority of whom simply can’t afford to purchase an additional seat.’

The Incorporated Society of Musicians (ISM) is warning anyone intending to travel with a small instrument to check very carefully before travelling with Ryanair, and to ensure their instruments will be accepted as hand luggage before booking any flights.

David Abrahams, Head of Legal Services at the ISM, said: ‘We are deeply concerned about the recent cases involving musicians travelling on flights with their instruments.’

‘The idea that musicians should be forced to purchase an additional seat on board an aircraft because they are carrying an instrument that can be stored safely in the overhead lockers is unfair, discriminatory and irrational. These airlines are punishing musicians for being musicians.’

In addition, the ISM has advised its members to take with them a letter, signed by ISM Chief Executive Deborah Annetts, confirming that they are music professionals.

ENDS [12_10]

Note to editors

1. The Incorporated Society of Musicians is the UK’s professional body for musicians. We champion the importance of music and protect the rights of those working within music through a range of services, campaigns, support and practical advice. We offer peace of mind with our high quality legal expertise, casework and comprehensive insurance and are proud of the assistance we have given our members since 1882.

2. The International Artist Managers’ Association (IAMA) and the Association of British Orchestras (ABO) are corporate members of the ISM. Their members have also recently experienced problems with airlines when travelling with their musical instruments.

For further information on this story, please contact Natalia Fenyoe, Head of Marketing, t: 020 7079 1211, e: natalia@ism.org

Website: www.ism.org

Twitter: ISM_music

Facebook: Incorporated Society of Musicians

 

Michael O’Leary’s budget airline is not very nice to musicians. Almost 13,000 have banded together on Facebook to form Musicians Against Ryanair, complaining of rudeness, discomfort and an intolerance for musical instruments in the passenger cabin.

That protest has just acquired official backing. The Incorporated Society of Musicians issued a press release today, reporting the case of a 12 year-old girl who was turned off a flight after being refused permission to carry her small violin on board. The ISM warns musicians to beware of the Ryanair experience. Maybe not just musicians.

 

Press release follows: 

Young girl stopped from boarding Ryanair flight with violin

Musicians are being warned to take extra care when planning air travel with their instruments.

The advice comes after several reported cases this summer of musicians being targeted by airline staff. In one instance, twelve-year old music student Francesca Rijks, who studies at Chetham’s School of Music in Manchester, was turned away with her violin at the boarding gate of a Ryanair flight returning to the UK from Germany. Her parents were told the violin was not allowed as hand luggage, and were given an ultimatum to either put the violin in the baggage hold of the plane, which would cause irreparable damage to the instrument, or to purchase an additional seat at a cost of 230 euros. This was despite the fact they had received confirmation from the Ryanair customer service department (prior to purchasing any tickets) that the instrument would be accepted. They had also checked in without problems.

Francesca’s father Harmen Rijks said ‘This was an absolute disgrace! Their policy appears to discriminate against violinists, the vast majority of whom simply can’t afford to purchase an additional seat.’

The Incorporated Society of Musicians (ISM) is warning anyone intending to travel with a small instrument to check very carefully before travelling with Ryanair, and to ensure their instruments will be accepted as hand luggage before booking any flights.

David Abrahams, Head of Legal Services at the ISM, said: ‘We are deeply concerned about the recent cases involving musicians travelling on flights with their instruments.’

‘The idea that musicians should be forced to purchase an additional seat on board an aircraft because they are carrying an instrument that can be stored safely in the overhead lockers is unfair, discriminatory and irrational. These airlines are punishing musicians for being musicians.’

In addition, the ISM has advised its members to take with them a letter, signed by ISM Chief Executive Deborah Annetts, confirming that they are music professionals.

ENDS [12_10]

Note to editors

1. The Incorporated Society of Musicians is the UK’s professional body for musicians. We champion the importance of music and protect the rights of those working within music through a range of services, campaigns, support and practical advice. We offer peace of mind with our high quality legal expertise, casework and comprehensive insurance and are proud of the assistance we have given our members since 1882.

2. The International Artist Managers’ Association (IAMA) and the Association of British Orchestras (ABO) are corporate members of the ISM. Their members have also recently experienced problems with airlines when travelling with their musical instruments.

For further information on this story, please contact Natalia Fenyoe, Head of Marketing, t: 020 7079 1211, e: natalia@ism.org

Website: www.ism.org

Twitter: ISM_music

Facebook: Incorporated Society of Musicians

 

On the Lebrecht Interview tonight, it’s jackets off with Stephen Kovacevich, a pianist who once matched Brendel and Ashkenazy set for set in the recording studio.

He’s 70 this year and ready to tell all – about Myra Hess, his formidable teacher, about London in the 60s, how he fell in love with Jacqueline du Pre and Martha Argerich, and why he has never played the music he adores: Rachmaninov.

It’s tonight 9.45 on BBC Radio 3 and streamed all week.

 

 

On the Lebrecht Interview tonight, it’s jackets off with Stephen Kovacevich, a pianist who once matched Brendel and Ashkenazy set for set in the recording studio.

He’s 70 this year and ready to tell all – about Myra Hess, his formidable teacher, about London in the 60s, how he fell in love with Jacqueline du Pre and Martha Argerich, and why he has never played the music he adores: Rachmaninov.

It’s tonight 9.45 on BBC Radio 3 and streamed all week.

 

 

While the London Symphony Orchestra has been on tour with Valery Gergiev and Mahler’s fifth symphony, its principal flute and chief blogger Gareth Davies has been reading my new book Why Mahler? in his down time.

‘Why Mahler?‘ wonders Gareth. ‘Sitting in Gstaad (Switzerland) playing a relatively minor but essential role in the symphony, I was looking around at my colleagues concentrated faces asking myself that very question.

You can read his closely observed reflections here.

I would add only that the question itself expresses Mahler’s uniquely disturbing qualities. I don’t hear anyone asking Why Strauss? Why Sibelius? Why Elgar?

Why Mahler? is published in the US on October 5.

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