Thoughts On The Sale of Hyperion to Universal
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- čas přidán 24. 02. 2023
- OK folks, put the rending of garments an gnashing of teeth on hold for a moment, while we take a step back and calmly consider the implications of Universal's much ballyhooed acquisition of the formerly independent Hyperion catalogue.
- Hudba
A note on availability: for those who go to the Hyperion website, *all* its catalogue was (and, as I'm writing this, still is) available. I have purchased quite a few "deleted" items on digital downloads, and they also offer the option of having a special copy printed and mailed through their Archive service. I very much hope Universal keeps the existing website, including the option to read and download all their wonderful booklets -- even if you don't purchase the CD.
My large cd library is loaded with disks from labels that have gone kaput. Some of those labels did quality work, but some went out of business for good reason. Hyperion had a great run, and made some terrific recordings and will be missed and I don't know if the classical music market is healthy enough to support new labels. And I would suggest to people who are interested in Hyperion to get over to Berkshire Record Outlet asap. They currently list over 1100 Hyperion releases for a fraction of the original prices.
My thanks go out to Hyperion for providing me with so much pleasure over the years. They are/were my favourite label (particularly being a pianophile) and I do own a significant number of their recordings (even on vinyl and downloads.). What set them apart for me - particularly from the majors - was the quality of their notes which were generally thoroughly researched and focussed on the music and composers not artist promotion. The only irritant was in today’s streaming world Hyperion had no presence - I suspect that may have been one of the triggers for the sale. I note that Presto this month have launched their own streaming service - good luck to them.
I'll miss them, too, and I hope that their talented artists like Hamelin will find another home, but thanks for this level-headed recognition of how the real world operates, for better or worse.
My upset at the sale of Hyperion is completely selfish. They introduced me to so much good stuff I hadn't heard or obscure stuff in so much better performances than were previously available. Their sale means one less explorer through the classical record jungle. What will we do when Klaus Heynman decides to sell?
I agree with Dave, however. Hyperion lasting as long as it did amazes me. They put out classy productions - performances, engineering, artwork, liner notes, even their label trademark. I'm glad Perry's made money from it.
Yes, Dave. Let's hope Mr. Perry did well, that the existing Hyperion catalog gets wider distribution (although oh how I wish Naxos had picked it up instead!), and that artists such as Stephen Hough are quickly able to find new recording opportunities with Universal.
My thoughts exactly…
I wonder what will become of the Romantic Piano Concerto series, which I believe is presently on Volume 999,999,999.
I'm no expert, but I've been quite torn about this decision and these are my ups and downs about it.
My ups: definitely the streaming. I respect Hyperion's decision to not stream any of their stuff because they won't get anything out of it, but I, who sorta lives on streaming, is missing all of those incredible projects they did: the Leslie Howard Liszt series, all of those song editions, and also some rare music thingies. Streaming will definitely open these amazing performances up to many people who haven't been able to access them up until now.
My downs: honestly, my fear is what is done in the future under Hyperion's name. I don't know if Hyperion will continue as a sub-label but if it does (which I certainly hope so), I hope it won't fall (or at least, fall less) into the trap of making tacky releases. It's already been enough to see DG and Decca falling in that way for decades and it will be very sad for me to see Hyperion, which seems to have been a truly great classical label, go down that way. That's truly my main concern, but as indeed has been said, it's too late. All we can do is hang on and hope Universal treats it less stupidly than it does its other labels.
I have a couple dozen Hyperion recordings. The appeal to me, besides the more out-of-the-mainstream repertoire, has always been the superior production values - outstanding sound quality and beautiful inserts containing informative notes. It creates the feeling that love and care went into each issue. I just hope that Universal does not suppress the part of the Hyperion catalog that competes with its own catalog, and that production values are not sacrificed.
Thank you for talking such good sense. The sale of Hyperion is an opportunity as much as a source of regret. The label barely managed to issue mid-price label, let alone boxed sets. I hope that whatever happens, future reissues will retain the excellent liner notes.
A refreshing reminder that music publishing is a business, like any other, like it has always been. Mozart sold his music to pay his bills. It wasn’t much more romantic than that. Let’s just enjoy the music, no matter what vehicle it travels in.
Right!
Hamelin's recordings being on streaming would be incredible, so many more people will be exposed to his work.
Hyperion got me into classical music and has remained my favourite label ever since.
So sad. Here's hoping Universal does justice to the Hyperion label. I have a couple in my collection and they are wonderful. Thanks Dave !!!
Hyperion has long had one of the best-functioning and most informative websites to support their recordings. I shudder to think what Universal will do to that!
Oh wow. Finally we might get the catalogue streaming. Going to be curious to see if artists jump ship.
Perhaps he was made an "offer he couldn't refuse". I remember the days of Lew Wasserman as head of Universal and MCA during the second half of the 20th century. One of his close high school classmates told me about "the crowd" that Lew hung out with in the 1930s. Everyone knew who they were. Lew was the top kingpin in Hollywood and was able to get President Reagan to pay back a due favor during his presidency. Please David, they're not "knights in shining armor".
I never suggested that they were, but they aren't evil incarnate either.
Thank your for your insights into this news item
Thanks for this common sense analysis. From the title I was expecting an amusing rant about how the world had ended. It is good that you can keep us entertained by being unpredictable. Keep on making content for us.
Thanks for this perspective. I often bought a cd on the strength that it was on the Hyperion label if I wasn’t already informed about the work or the artist. Hyperion gave me a chance to discover.
If we don't get two-piano recordings of Hamelin and Osborne playing Disney dings, I'll be surprised:)
I started the video thinking it was something to moan about, but your points are really spot-on and made me change my perspective.
Like a lot of other folks at the time, I eagerly awaited (and then instantly bought) each new installment in the the Schubert Lieder edition as the individual cds came out. It was and remains, in my view, one of the classiest musical projects ever put on disc. Graham Johnson's extensive booklet notes were alone worth the price of the album, the individual programs were intelligently devised and thematically engaging, and the voices--especially the way they were so perfectly allotted suitable songs--were uniformly first-class lieder singers (Anthony Rolfe Johnson's recital of "night" songs has been a desert island disc for me from the day it appeared). The whole enterprise was a model for how to conceive and conduct a long-range recording project of substance, beauty, and historical importance. That kind of careful attention and wise investment is something we're not likely to see again--not from the Universals of the industry, I'd imagine.
I acquired all of the complete lieder editions as they were issued. Priceless. But some of the early Schuberts became victims of cd bronzing rot.
Thanks for the thoughtful discussion on this issue -- which of course goes beyond just the sale of Hyperion. What worries me most is that Hyperion did find excellent young talent, cultivate them, allowing them to record off the beaten track repertoire (e.g. Bowen, Kapustin) and support them with sensitivity and awesome sounding recordings. Small labels can do that better than multinational corporations who generally make decisions based on baseline annual target growth goals -- often in the double digits. I do think you're right with the streaming and especially the licensing strategy for the catalogue, and I definitely look forward to Hyperion streaming. BUT if the 1% can refresh and reintroduce the catalogue with nifty box sets, that would be a plus. For example, I'm recently discovering the Florestan Trio. Man-o-man they are great in almost everything they did. I'm not aware of a Florestan Trio box set, but it would be a good one.
I have a few hundred Hyperion CD's. I could never find any digital. So they got my CD money. This label is the piano label for me. I look forward to more boxed sets. Even if there's duplication, I'll buy.
I would love to see a list of all the labels that Universal has acquired.
I hope this means their catalog will come to musical streaming services.
Yes, yes, yes! I'm praying...
Hamelin said recently that Hyperion may be putting their catalog up for streaming, which would be amazing.
It’s going to be interesting. I could see some nice boxes come out of this…Except for the Schubert Lieder and Liszt my experience with Hyperion was that it was a pretty much a single disc outfit.
If Hyperion gets Universal's distribution, then perhaps it's a good thing.
Hope your right
It’s not difficult to get Hyperion CDs
@@murraylow4523 I know your name from when I lived in NYC. Did you ever know a gentleman named Victor Niederhoffer?
@@robertjones447 Hi. Curious question. I did live in New York in 1989-90, as a student. But there are I assume a bunch of Murray Lows in the city, including my cousin who taught business at Columbia. I have no recollection of the name you mention, sorry.
@@murraylow4523 That's the guy, I believe! Victor was an investment advisor.
Really great episode. Ten thumbs up to your final minute: be stubborn and have it your way, sure, that’s your right. But if it’s a dumb way, it has a cost!
Speaking as a lover of this label and all it has stood for and as a frequent purchaser of Hyperion CDs, this sale is a cause for lament. Last night I was at a wonderful concert by the Gesualdo Six. Their Hyperion CDs were on sale during the interval and after the concert- doubt this will happen with universal. The local CD shop stocks the Hyperion new releases each month. Universal by contrast don’t seem that interested in supplying a shop in the antipodes.
soon.....the complete recordings of angela hewitt on hyperion, or the complete recordings of sir charles mackerras on hyperion.....if universal music does it with dgg, phillips, london-decca etc, why not with hyperion. ...? ....beautiful boxes to come.....
It may be a bit more complicated than Hyperion just being a company.
I had no real formal classical music training and so relied on ‘helpful guides’ - a girl at High School introduced me to Shostakovich, an enthusiastic woman at the classical music store introduced me to Trevor Pinnock and baroque music, Leonard Bernstein’s TV shows and videos introduced me to lots and lots of classical music.
Hyperion has been a similar ‘helpful guide’. Their CDs have introduced me to composers of whom I would not have listened (such as Ysaye, Vierne, and Lekeu) and particularly they have introduced me to chamber music - one of my favourite discs is their Faure Piano Quintets with the Domus Quartet.
So, Hyperion as a ‘helpful guiding-hand’ getting sold-off makes me sad.
Wow. That was a surprise. I have a huge number of both discs and downloads from the company. I wonder if that unfortunate copyright incident from a few years ago had anything to do with Simon's decision to sell. I loved their SACDs too, even if it was only for a short time.
I think it's fascinating. I can't understand it, except, as excellent business by both parties, not only the founder. Hyperion have done some lovely stuff! Universal may just see this as a growth-industry.
When I was starting out in classical radio in the late '70s, the major *scandale* was that some of the major American orchestras had signed with -- wait for it -- *European* labels. The sorrow! The pity! At least that was the reaction of the self-appointed guardians of classical music, not a cohort given to underestimating the importance of their concerns. Flash forward a few decades, and we see that Angel became EMI and is now Warner, Philips is now Decca, and Columbia and RCA Red Seal, the twin towers of American classical music, are the same damned label. And exactly none of the major American orchestras is under contract to any label whatsoever. Does anyone care anymore when some superstar artist bolts from one big corporate brand to another? I've always regarded the independents like Hyperion, Chandos, Naxos and HM with admiration and humility, continually astonished at the volume and quality of their releases, most of which have little chance of selling in large numbers. If they all went the way of Hyperion tomorrow, I'd be sad, but I wouldn't be outraged or even particularly surprised. I'd be grateful for how long we had such a good thing. And hey, now I can pull up all those great Hamelin and Hough albums on my streamer.
I’m trying to manifest that Hamelin box 🙏🙏🙏 Come on, Universal!
I can understand what you are saying, but, at the end of the day, this is a really sad announcement for some of us. If I can pay a tribute to Hyperion, I'll say that their CD's were immediately trustful and desired objects. Of course, I didn't buy all of them, but I have hundreds. The thing is Hipérion was one of those few publishers (I use the word purposefully) who offered always a well thought and executed object: repertoire, musicians but also recording, cover, booklet, etc. They helped us to make the transition from Lp's to cd's, ensuring that the editorial pleasure was not lost in the transition, only increased. Music, as text, deserves to be well packaged, in a cultivated manner.
Thanks for walking me off the ledge! I have probably 30 or so Hyperion recordings and appreciate many of their regular artists (e.g., Nash Ensemble, Takacs Quartet), as well as the usually great sound and frequent focus on less well known British works and composers. A bit like Lyrita and Dutton in all this. Their avoidance of streaming is a major frustration though. And erecting copyright barriers for sites like yours seems plain foolish: such clips are free advertising!
Completely agree Dave, not least on the idea of a Hamelin Box.
For all their quality i found their positiong in in the market a bit sniffy and self regarding. I hope the artists did well out of them as a counterweight to that at least.
On copyright claims, I don’t understand why the labels go after Classics Today when there are countless albums/sets of classical music and concert videos uploaded on this platform. Watching your channel spurred me to purchase thousands of dollars worth of CDs and downloads from those labels in the past 3 years. I feel for classical artists who remain uncompensated because CZcams leaves pirated music on this platform.
I totally agree. When will the recording companies realize no one is trying to steal anything, it is free advertising! Especially when it comes to classical music, you would think they would want to bring their product, not only to "a new generation," but to expose ALL generations to beautiful music. Nurture new classical music lovers. Make more sales. I'm convinced that a mention on this or other media sources, increases the searches for, and sales of said item. I know I've done it...multiple times.
I would suppose a part of the difference is that some videos will have copyright claims that still allow the music to be heard, but the uploader can't monetize the stuff if they really even care for such a thing. But I'd think Dave here is looking to also make money out of producing these videos, so even having such a general claim means he won't be making any cash from those videos, ergo the need to fight those claims when they manifest. I mean, I don't believe for a second those uploads of complete albums and such don't have any claims on them, they're just not the kind to result in the music becoming unhearable rather than just un-monetizable.
@@JBuddis don't overestimate the money that can be made on youtube. The vast majority goes straight to youtube, and is based on advertising. The content providers themselves get a pittance, if anything. Don't tell Dave, though, because if he were to start treating this as a job to make money from, he'd stop today.
As much as I love the small collection of Hyperion CDs I have, their policy of not allowing their catalogue on streaming platforms and their manic copyright strikes on platforms such as the one you operate on, while selling downloads (which I find extremely hypocritical), was increasingly absurd. There are no CD players in new cars, and radio being a perpetual war crime against great music, you're forced in to using your phone and a streaming platform to listen to the music that you like. Ironically, 80% of the CDs I bought last year were from the Hyperion label. But I only bought 10 total. So there. CDs sound better than downloads or streams, especially if I play them on my Moon CD player and hi-fi system, but on the other hand the sheer magnitude of great catalogues and recordings available on streaming platforms and only on streaming platforms, and the immediacy these platforms offer provide a musical-scape made for people who like to discover new works or multiple versions of the works they like infinitely appealing.
But most ironical of all is Hyperion selling out to Universal. The fircest independent selling out to the fiercest entertainment corporation. Yeah, right. So much for principles. Ultimately it all boiled down to "take the money and run"
Selling downloads is not incompatible with not streaming. The former gives you full ownership of the music and allows them to pay artists without the overhead of packaging and physical distribution; the latter gives you a listen and minuscule revenue return to the artist.
There is no logical reason for a CD to sound better than a full 16 or 24-bit uncompressed downloads (such as Hyperion sells). The files are mathematically identical - CDs just happen to be an inefficient 45+ year old technology for distributing digital files.
@@mike-williams Your counter-arguments well noted, and I agree with them for the most part. However, I didn't say that selling downloads was incompatible with not streaming. As for ownership, you only own a digital copy of the music, and you can't darn do as you please with that copy. On the question of revenue made through streaming, sure, it is miniscule, I agree. The platforms take advantage of the artists and record companies' catalogues because they've now the upper hand. It's unfair, sure, but the music business is not particularly renowned for being fair, ever. There is certainly room for improvement here, but I'm clueless as to how you can achieve that. But streaming platforms offer artists a wide and immediate exposure and allows most people (most of whom don't have huge incomes either) access to a huge range of recordings and artists. Thus, as regards musical appreciation, in the long run great music should benefit. Especially now, with all the many great channels devoted to great music making available on the internet (including this one).
Lastly, a CD is not just a digital file, but a physical product, with a booklet. And they do sound better on my hi-fi system, but I take your point. They occupy physical space and the connection I feel with physical products is different than the one I have with downloads and streams. That's why I still buy CDs from time to time. And one argument Hyperion was making for not streaming, if not mistaken, was that they were producing and selling beautiful products painstakingly crafted, which they did not wish to cheapen via streaming. And indeed, a lot of their CDs did qualify as beautiful products (as I've said I do love my collection of Hyperion CDs). Downloads are not beautiful products, however.
@@davidbo8400 It's impossible for a 16bit CD to sound better, as you claim, than a 24bit FLAC download.
Dave thanks for the glass half full version of this. Looking at what univsal does compared to what Hyperion has been doing steadily for years I don’t share your optimism. Obvs they have every right to sell the business but look what happened to Philips, Decca, DG? Gees. At least Hyperion was always sending out streams of new stuff and much of it was not at all a waste of time.
What happened? They issued tons of boxed sets that are great, and at rock-bottom prices. There new stuff is a joke, but the back catalog is where the juicy stuff it.
On a wider note, related to the "corporatisation" of classical music, I wonder what you would make of the recent announcement from Apple, that it will be launching "Apple Music Classical" with enhanced search et cetera? I think that Hyperion did much great work, but ultimately, you are right to say it is a business and not a charitable enterprise!
Likewise, I think this new development from Apple will make it much for those of us, like me, who mostly consume classical music by streaming it. It was a nightmare to find the right piece in the particular performance I wanted. Hopefully that's a thing of the past! Nonetheless, given this topic is related to that covered in this video, I imagine many of us would be curious for your opinion!
I'll wait until I see it and then we can discuss it, perhaps. I got the press release but you never know...
Tom Null through Varese/Sarabande and Urania rescued so many great recordings as did Boston Skyline. They are some of my favorite. I think Universal could be a boon for Hyperion recordings (so long as they don't allow the tapes get destroyed like in the 2008 fire)!!!
Hopefully they don’t accidentally burn all the master tapes again.
One thing is for certain: Every new release from Universal-Hyperion is going to have to have a TITLE attached to it, the goofier and more meaningless the better. No more utilitarian ones such as, say, "Saint-Saëns Chamber Music"; it's going to have to be "Cousins to the Swan" or something equally asinine.
Come to think of it, they're going to have to find somebody to come up with a goofy TITLE for each Hyperion CD In the back catalogue. Maybe a job opportunity for some hack at Universal? Naw, they'll probably save some bucks by having an intern do it. And it will show.
Onward and Upward!
Wow, this feels rather crushing. But I guess there are always other independent labels to provide the off the beaten track repertoire. Who could have forecast that Naxos would be so exploratory? And there remains Chandos, still doing its thing for British music (also without embracing the standard streaming platforms and aggressive price-cutting). And Universal would be stupid (Oh, I see....) if they didn't exploit what they've bought. Still, it feels a shame. I found their warehouse/headquarters quite by accident in a small trading estates in a suburb of SE London a few weeks ago. They were a small fish in a big pond, and that they survived at all for so long is remarkable.
I also want to hear your thoughts about Movie Tar. Did you watch it? And are you satisfied about them especialy Cate Blanchett as conductor?
I saw it twice. Brilliant acting. The movie unfolds slowly. Many references to past conductors we all know.
No, and I have no plans to see it. It doesn't interest me at all.
Maybe they‘ll have some new stuff to draw from the next time universal decides to do another big Mozart box (or any other composer box).
Thanks for these remarks. Do you think the same fate is awaiting the other prolific and quality independent labels as well? And if so, isn't there a risk of decent classical music losing to fusion "junk"? I am thinking in particular of Harmonia Mundi, Bis and Chandos. Thanks
Does this mean we’re not going to get the Early Music edition of 10 Stunning Albums Of Non-Standard Repertoire On Hyperion to go with the Piano one?
Hyperion has an amazing catalogue! I hope it is available for streaming soon. Their discs were just too expensive, but usually very high quality. Fingers crossed.
RIP
They bought ASV and that label has largely disappeared. It doesn't bode well.
That label had little worth rescuing, frankly. And I have no doubt it will pop up eventually.
If Hyperion has been able to be profitable without going to streaming, maybe that should continue. Exclusivity is definitely a viable selling point.
It is a huge gain for Universal for adding material worthy of re-release. Remember: most of this is newer and fresher than what Universal already has. Do you remember when you looked forward to new releases from Deutsche Grammophon? Or Decca?
Universal IS great at distribution. It has an excellent back catalog good for box sets. It gets to do much the same with the now-extensive back catalog of Hyperion, and that in no way debases the experience except to take away the liner notes. I may disagree with you on Robert Simpson, but Universal might be the right way to get people to find out about him.
Speaking of sound clips, you seem not to use them any more, at least in the videos I happen to watch, but I don't remember a specific announcement. Did you discontinue the practice entirely? Would you still consider it for labels who have white-listed your channel?
No, I still use them. I just did a World's Greatest Melodies talk featuring Delibes and Tchaikovsky last week.
Hyperion has a good catalogue; pricey, though. This may be good news in that respect: availability at a better price.
Too much is not enough. I have tons of CDs and they're all the wrong ones. If I sold them all, I might be able to pay for one $40 recording that would probably be the wrong one! I don't know if I can Handel it.
yes universal has the power to highlight this catalog. but I remain worried about the fate of the artists, in particular the effect on the extent of the piano repertoire. for that, we often need a more altruistic organization than Universal
Talk about behemoths buying niche player…it’s approaching 2yrs since Apple’s purchase of Primephonic. Still waiting for the supposed Apple new classical app. What a loss. Hope Universal treats Hyperion differently.
Looking forward to the newest Hyperion series of Bruckner symphonies by Gustavo Dudamel & the NY Philharmonic.
All joking aside, it'll be nice to get Hyperion on streaming services. But that would have happened if they'd been bought by Chandos, Bis, or Naxos too. These labels would definitely have honored the Hyperion legacy, which, for me, is the primary concern with UMG. It seems likely to be much less than 50/50 that they actually will, when they have a hard enough to honoring Philips.
If only Dave's voice of reason had been around all my life. The only Hyperion disc I actually remember buying was James Bowman Handel heroic arias. Oy what a disc.
Re. people who think that classical music, or any expression of art, should only exist as a charitable enterprise- many artists (including musicians) sustain themselves through their earnings. Those who believe that 'creatives' should simply engage in charitable giving should first consider turning their own day jobs into charitable endeavors and try supporting themselves as mendicants. And those who insist upon art as charity and don't themselves need a day job may simply lack or have lost the capacity to empathize with those who do.
I just hope the new Hyperion makes their catalog available on streaming services.
Thanks for defending the capitalistic side of the thing. Presumably Simon and most folks in the company love classical music. But no, it’s not a charity
It's been no surprise to me. I believed they digged their own grave. I bought very few Hyperion CDs for two reasons: 1) They are sparsely available, 2) they are EXPENSIVE! Their oldest recordings are very difficult to buy, and they are not available for sreaming. They do not publish boxes, hence the prices are prohibitive. For example, I LOVE the Romantic Piano Concertos series, but bought very few CDs because the first ones are very difficult to find (if you find them their prices are sky high) and no boxes exist. The around 80 CDs of this collection payed at around 12 euros every CD (cheap price) would cost around 1000 euros! I am sorry, but no way! When I hear "Hyperion" I usually also think about "BIS". Another independent label, but much more interesting because they are available (always) and although they can be expensive their sonic quality is top notch.
Is Hyperion selling CD-Rs now without telling customers they are CD-Rs? I've seen some people state they've received CD-Rs from them. That is not acceptable. CD-Rs are disposable junk.
Aren't there laws, though, that prohibit such a monopoly? Do you really want Universal to be the Putin of the classical music industry? This all seems rather 'sick' to me, Dave, despite the problems with Hyoerion. It seems that in your mind (or ideology?) 'all is permitted' when it comes to commerce and ye olde 'market economy.' Something of the nasty smell of the music Mafia here, if you ask me (which I'm sure you wouldn't). But if course I will no doubt 'keep listening' anyway!
Yes, there are laws, but not in this case. They applied when Warner took over EMI, but this is tiny stuff. Nothing to get paranoid about.
@@DavesClassicalGuide Okay.
Remember guys - they pursued a very dumb and expensive court case they lost on an abstruse copyright point that cost them a million. that was dumb in the extreme. They could have just pulled the offending recording from their catalogue and moved on....not saying that's what caused this, it was ages ago but it points to stubbornness. Still, great label. Bruckner motets . Polyphony. Stephen Layton. To DIE for, recorded in the lady chapel at Ely cathedral