I had never heard of Odradek. The company appears to be very much artist-driven. How far their model could be applied to the recording and distribution of, for example, the orchestral output of companies like Nimbus or Dutton or Somm in the UK, CPO in Germany, BIS in Sweden must be a matter of some doubt.
I do understand the point being made in the interview about streaming. If the long-term future for classical music is a financially viable model based on streaming rather than cds then so be it. I won't be around by that time anyway!
The basic point however remains the same. If it costs a company a substantial sum of money to record, in particular, a piece of orchestral music the company cannot survive without a return on its capital investment. Where and how that return is acquired may change in the future. "Customers" getting the music for nothing (or next to nothing) will not allow the bills to be paid!
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