BM The fact remains that, say, in the Sixties, a large number of classical recordings were made that have stood the test of time. Now we see a situation in which major artists are being relieved of their contracts and innovative series like Entartete Musik have been ditched. Do you think, Michael, that there’s a sense of the majors betraying their legacy? MH The majors have done too little to develop artists from repertoire initiatives. Years ago, I didn’t hire Ute Lemper to sing Ktlrt Weill; I was going to record the Kurt Weill theatre songs and needed a singer, and at the time no one knew who Ute Lemper was. Emma Kirkby was never exploited by Decca as much as she has been by Hyperion, and I remember the huge resistance at Decca to trying to exploit Emma or
any of these early music people in the crucial Eighties and Nineties when early music was really beginning to take off.
JA It’s hard to build a profile for an artist against too many odds.
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