No Nancy, I don't think this is right. My understanding of this particular case is that Hyperion HAD paid Sawkins an agreed fee to prepare the new edition but that he then wanted new performance fees ie fees payable every time a concert was put on using this edition. It was this that led to the case. I understand that Sawkins was asked by counsel if his edition contained any new music, which under existing practice would have naturally resulted in some fee, but he replied in the negative. Extracts from the court transcript may be found on Hyperion's website and I do urge any who have any interest to read the details. You may also not be aware that Hyperion is not a giant media company and employs under 30 people (or did - I don't know if any have had to be laid off as a result of this); it has been extremely adventurous in exploring little known early works and composers and has much support from musicians within the UK. The financial burden may well cut this output - to our loss. regards and best wishes Martyn PS In case you wondered: I've absolutely nothing to do with Hyperion but just worry about the possible wider effects on early music performance, at least here in the UK.
