Estonian Music Week in Canada

may 2018
From May 24-29, 2018, Estonian Music Week will take place in Toronto. Estonian Music Development Centre and Estonian Theatre and Music Museum present an exhibition "Arvo Pärt - Renowned and Unknown".

Read more »

Exhibition "Arvo Pärt - Renowned and Unknown"

january 2018

Arvo Pärt weekend at Flagey center (26.-28.01.18): exhibition "Arvo Pärt - Renowned and Unknown". 

The event is dedicated to the centenary of the Republic of Estonia.

Read more »

Arvo Pärt is the world’s most performed living composer seventh year running

january 2018

The largest classical event database Bachtrack released the charts about 2017 performance statistics and confirmed Arvo Pärt as the most performed living composer in the world for the seventh consecutive year.

He was followed by fellow contemporary composers from the US, John Adams, John Williams and Philip Glass.

During the last year the most performed composers in general were again Wolfgang Amadeus Mozart and Ludwig van Beethoven.

News from Arvo Pärt Centre
Read more »

EV100 event: Arvo Pärt - Renowned And Unknown

july 2017
An Exhibition in the courtyard of The Royal Castle in Warsaw
Read more »

Arvo Pärt Centre’s New Building Cornerstone Laid

june 2017
Today the cornerstone for Arvo Pärt Centre’s new building was laid at Laulasmaa, Estonia. The official ceremony took place at the site of the future Chamber Hall and the cornerstone was placed within the floor area beneath the stage.
Read more »

Estonian Music Development Centre wishes A Merry Christmas and A Happy New Year!

december 2015

Read more »

Discovering Estonian contemporary classical music at the Budapest Music Centre in October 2015

august 2015
With the successful cooperation between Estonian Music Development Centre and Estonian Institute in Hungary there was held an introductive seminar about Estonian contemporary classical music with Estonian composer Tatjana Kozlova Johannes and Hungarian composer and conductor Balázs Horváth
Read more »

Järvi's Out, Harding's In, at Orchestre de Paris

june 2015
As rumored, British conductor Daniel Harding will become the new music
director of the Orchestre de Paris in September 2016, succeeding Paavo Järvi. Due
largely to government politics, Järvi, whose tenure began in 2010, will not be extending
his contract
Read more »

Midem 2015 Day 2 Wrap: “Engagement is more important than numbers”

june 2015
Midem day 2 began with a lavish breakfast featuring music industry royalty in the shape of Chairman and CEO of Epic Records, LA Reid and the former Chief Marketing Officer of Global Consumer Engagement at PepsiCo,Frank Cooper III, who appeared days after revealing he’s joining BuzzFeed as Chief Marketing and Content Officer.
Read more »

Midem 2015 Day 1 Wrap: Streaming, superfans and the complex US market

june 2015

The future of the music business lies in streaming and cultivating a closer relationship between artists and fans, which will create a sustainable living for everyone involved… as long as labels, publishers and legislators stop fighting.

Those were the key themes during speeches from DeezerTidaland numerous US executives for day one of Midem 2015.

Kicking off proceedings was the newly appointed CEO of French-born streaming service DeezerHans-Holder Albrecht (below), who said he wasn’t worried about imminent competition from Apple. Albrecht welcomed the entrance of a big company into his company’s space as proof that streaming “is the model for the future”.

“In some ways, Apple will help us a lot to educate the market,” he explained. “With Apple coming in and penetration going up to higher levels, the tide hits everyone. It will increase the opportunity for Tidal and Spotify too. [We’ll all] find [our] place and market segments. I’m not concerned, it’s a positive thing.”

Focusing on local curated content, as well as non-music features, will mean Deezer stands its ground amongst the competition, he added.

On the issue of free subscription tiers (something various major label executives have been complaining about recently) vs. paid, Albrecht said there’s no point doing away with “something that’s working”.

We are converting free to paid on all sides. Yes, we have to optimise freemium, but before we stop something that’s working, let’s wait until we have something to replace it with. Let’s not kill and draw conclusions too early, the business is getting bigger, we’re achieving global penetration,” he said.

It’s that global penetration that Albrecht hopes will grow the streaming pie for everyone, as well as additional features that are tempting enough to convert unpaid users into subscribers.

Music industry analyst Mark Mulligan, however, wasn’t so sure that convincing free streaming users to shell out $9.99 a month for a subscription will save the business.
It’s the music aficionados that efforts should be focused on instead, he said, during a talk on how to capitalise the artist and superfan relationship.

17% of music consumers, who are willing to spend above the average amount of money and time on music, count for two thirds of money spent, Mulligan explained. According to his analysis, last year, 72% of the money that was lost in the decline of recorded music sales was down to a change in behaviour in that small group of people.

So how do you get them to pay over $9.99? “Connection, curation and engagement“, Mulligan concluded. “Experience is the product, that is what we’re selling.

“When Taylor Swift invites fans to come to her house and her mum makes them cupcakes, that moment is far more important than any amount of time listening to [her music].

“As much as everything starts and finishes with a song, it’s been devalued as a monetary commodity. The things we can sell are those money can’t buy unique experiences.”

Capitalising on the artist-fan relationship is what Jay Z‘s newly launched streaming service, Tidal, is trying to do, said chief investment officer, Vania Schlogel.

Generally speaking, the average streaming customer is currently male, tech savvy, aged 25 – 34, and from an urban area, she explained. Reaching all those that just “dig music” will be through unique content, early access ticketing, live events and culture, all enhanced by artist involvement.

Combating negativity around what they do (a lot of post-launch headlines suggested the service was out to grow the bottom line of already wealthy artists), she said there was “a lot of misinformation out there. One of the things unfairly said about us was that we didn’t care about independent and emerging artists. That comment actually hurts. But then we launched (new talent programmes) Tidal Rising and Tidal Discovery. Actions speak louder than words.”

Wrapping up the day was a lively panel discussion on how US policy, copyright and creativity creates a “host of problems” for musicians, songwriters, labels and publishers. It was moderated by US music lawyer Dina LaPolt, who said that the “US is the biggest recorded music market in the world, yet we treat our creative people the worst.”

Solutions for the disparity between the amounts songwriters earn from digital services versus the rates given to recording artists and the lack of royalties paid for music played on radio were suggested by Cary Sherman, Chairman & CEO of the RIAA. Daryl Friedman, Chief Advocacy & Industry Relations Officer, NARAS (National Academy of Recording Arts & Sciences), and Mike Herring, CFO of internet radio service Pandora, also spoke.

While Pandora receives a lot of criticism for the amount it pays out to the music industry (4% of its users pay a subscription fee, while 83% are on an ad-supported tier), there’s no denying the future is digital, said Friedman.

Addressing Herring, Friedman explained: “We want businesses like Pandora to be successful and profitable, but the issue is the future. Terrestrial radio is a major part of revenue for songwriters, but every day the consumer is shutting down radio and downloading an app. How do we create a sustainable system for the future? We have to find rates that are fair, and it may involve converting consumers to pay more revenue to your company.”

However, getting government involved in rate-setting is dangerous territory, said Sherman, who instead proposed that the music industry work together with the digital services to reach an agreement.

We can’t separate publishers from record labels, we’re all part of the same ecosystem, and we all have a stake in the success of digital service providers. We really ought to be working all of this out as an industry, rather than leaving it to government. It just doesn’t make sense for third parties to try and figure out how this whole thing can be resurrected, it’s been dysfunctional for decades.

Read more »