The World's Most
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' EW YORK -In the New World, DG has been able to foster the standing of Deutsche Grammophon has several of its artists in the U.S. to a greater always been one of the prototypi- degree than ever before, most notably violinist cal Old World brands-with the Anne -Sophie Mutter. Against many predic- yellow label's cartouche signifying tions, she even hit Billboard's Top Classical all that is deep and timeless about European Albums chart, with a disc of challenging con- culture. Yet, even as the DG logo has served as temporary music: Krzysztof Penderecki's the ultimate seal of approval for a loyal core Violin Concerto No. 2, "Metamorphosen." audience, it also has been seen as a bit impos- ing for another, less classically minded segment BREAKING THE POND BARRIER of the U.S. market. With Mutter's stateside success -along with In the past few years, leading up to the label's that of conductor /composer Pierre Boulez, centenary celebrations, DG -under its U.S. who has homes away from home with the label chief Albert Imperato -has been tireless Chicago and Cleveland orchestras -Imperato in its efforts to cultivate classical consumers of would like to see more European artists con- every stripe, particularly those more resistant nect with the American people. to traditional entreaties. And those efforts have "Really, the Atlantic is as much of a barrier as paid off, either in increased sales of DG titles, anything," he says. "We need to make a home enhanced stateside stature for DG artists, or in in our country for DG's current artists: Bryn lessons learned for the future. Terfel, John Eliot Gardiner, Maria Joao Pires, One of the most successful entrees into a Anne Sofie von Otter, Myung -Whun Chung, U.S. mass market for DG was Imperato's link- Christian Thieleman. But to do that, we have ing of violinist Gil Shaham's recording of to get them over here and in the public eye." Vivaldi's "Four Seasons" with the Weather Among a raft of New Year's resolutions, DG's Channel in 1994. An atmospheric video for a U.S. arm will be furthering its relationships track aired ubiquitously, helping push the with such key partners as public radio and disc's sales to nearly 70,000 copies in the U.S., Tower Records. A few great expectations: according to SoundScan. Shaham's reading of Bartók's Violin Concerto The next year saw Imperato veer from No. 2 with Boulez and the Chicago Symphony Vivaldi's evergreen to the relatively untilled Orchestra, which comes out in March (timed to fields of Messiaen, in an expansive campaign to Shaham's performance of the work with the promote DG's significant series of recordings New York Philharmonic); the long- awaited devoted to the French master. Even though the recording of Boulez's "Repóns," which will be populist approach to a high- minded 20th issued as one of the first titles in DG's promis- Century composer annoyed some classical crit- ing "20/21" contemporary -music series; and the ics (and never translated into breakthrough second installment in Gardiner's Schumann sales), the campaign "succeeded in getting a lot cycle, with the conductor making the rare dual of people talking about a composer whose U.S. appearance with Beethoven concerts in name they couldn't even pronounce before," May in Los Angeles and with Schumann in July Imperato says. DG's Stateside credo has been in New York. all about trying to break down barriers, with The goal isn't to translate Deutsche enthusiasm and innovation. And that tack goes Grammophon into `American' as much as it is for the great artists of DG's current roster, as to "carry the torch for the label and its artists in well as for the titans of its peerless catalog (rep- a way that makes the home office proud," resented by such issues as the hit "Originals" Imperato insists. "Plus, while it's true that the series and "The Complete Beethoven U.S. is a market with little familiarity with clas- Edition "). As Imperato has come to find, a bal- sical music, that presents not only a challenge ance has to be kept between DG's hallowed but an opportunity. And I prefer to focus on past and its optimistic future. the opportunity, which is being the world's "We've had to ask ourselves," Imperato says, most famous classical label in the world's most "How much of the story of DG's great past can underexploited classical market." we tell, while leaving room for what the label is doing now ?' I think DG in Germany, the U.K. and Japan has a luxury of more nostalgia than we could ever have here. In the U.S., if you're not constantly laying claim to the future, you'll From the top: John Eliot be left behind." Gardiner, Maria foci Pires, Anne Sofie von Otter Man In The 100 REASONS TO LISTEN and Myung -Whun Chung As AG's Most emblematic of Imperato and compa- ny's efforts on behalf of DG is the groundbreaking "100 Reasons You Should Be Listening To Classical Music" cam- paign-surely the most energized and substantial market- U.S., ALBERI IMPEHAIO ing program ever conducted by a classical record label in the U.S. Running from July 1997 to January 1999, "100 Reasons" consists of nationwide retail and direct -mail pro- motions conducted in league with Borders Books & Music Has An Expansìve and the Discover card. The campaign touted such "Reasons" as "Try Something New" (pegged to the Emerson String Quartet's Edgar Meyer /Ned Rorem album) and "Travel To Exotic Places" Vision About Helmìog (paired with the Orpheus Chamber Orchestra's French Impressionist disc, "Pavane ") in a shopper's guide and print advertising. The program also included an educa- tional brochure and, most importantly, an unprecedented Albert Imperato the World's Most series of 18 DG artist in -store performances (arranged by PolyGram Classics' indefatigable promotion director Wende Persons). According to Imperato, the worth of the "100 Reasons" famous Classical label campaign totals some $2 million, including actual expendi- tures and contributed resources from Discover and Borders. He adds that one of the results of that effort has been dou- In The World's Most ble -digit increases in DG catalog sales over the past year. REVERENCE AND MARKETING Having worked his way up in the PolyGram system, Imperato is now the head of core classics not only for DG Underexploìted but for its sister PolyGram labels, Decca/London and Philips Classics. Famously artist- friendly, Imperato has mixed the joie -de -vivre in his marketing campaigns with a real reverence for DG's music -makers. Classical Market. "Listen," he says, "without the Beethoven and Mahler concerts I saw Bernstein conduct, I wouldn't be involved in classical music, personally or professionally. I was con- By Bradley Bambarger verted by his artistry." BILLBOARD DECEMBER 19, 1998 ADVERTORIAL www.americanradiohistory.com.