“Today, a memorial is not anymore carved in stone – it is released as a record.” - Frankfurter Allgemeine Zeitung
Looking back at the last six years, I couldn’t imagine a better start for my label. myrios classics has been founded in early 2009, with just an idea rising in my head over the years. With two unfinished productions in the bag, I attended the MIDEM fair in Cannes to meet and persuade distributors to partner with my label. In my hands, I held only a onesheet with my idea of the label and a draft layout of the cover artwork. I never thought someone would show interest without a finished product, but the feedback was overwhelming. I instantly had distributors around the world – and the first two discs were soon off to the pressing plant. One of them, the album SOLO by Tabea Zimmermann, soon became one of the most successful discs ever in the rather small niche of viola repertoire. It has been praised and recommended by listeners and music writers throughout the world. In October 2010, it has been awarded the ECHO Klassik, and Tabea was decorated as “Instrumentalist of the Year”.
The idea of producing records by accepting hardly any compromise, and to work with artists that think alike, is what I always headed for. As a freelancing recording producer and engineer, I often witnessed situations where pressure by executive people resulted in a counterproductive working environment. But a recording situation is something very special for the artist. This is where to concentrate on his or her talent and to set a milestone, a benchmark that characterizes the artistry of his musical sense at a given point in his life and that will be respected – in the best case – for decades.
But the more the crisis foreshadowed the music business, expected sales figures of the better days, now totally unrealistic, stood on the foreground and weighted heavily on executives and artists, even before the first bar of music had been recorded. Some of these artists ‘survived’ somehow the years of the music crisis under the cover of a major company that became extremely cautious regarding repertoire and production costs. As a result, recording sessions were planned without an appropriate time for preparation, but a rather tight schedule. Recording demanding pieces in a timeslot of only two days in the middle of a world tour? No problem! Meanwhile, key persons the musicians trusted in and with whom they built a close relationship throughout the years, were fired. Literally with every phone call, another representative came into the game. Some artists fell below a given line in an Excel sheet and were simply kicked by their company, no matter what their part of our musical heritage represents today. Maybe because they didn't meet the sales expectations or because they just became "too old" to represent the image of a label that is always desperately seeking for new, fresh and innocent faces.
Thanks God times changed, and some of the bigger companies learned their lessons and re-established a great home for artists. Some maybe didn't up to date. However, this crisis gave smaller labels a big chance to grow and establish. I am proud that myrios classics is considered being one of these labels, both, by artists and listeners. And I feel very honored that so many serious musicians trust in our work.