At 5:02 PM -0500 12/5/06, David W. Fenton wrote:
On 5 Dec 2006 at 10:47, Mark D Lew wrote:

 What I want to know is whether Haydn would have written his pieces if
 he had a secure copyright for, say, 28 years from publication, as
 opposed to 70 years after his death.  I think he would.  If that's
 sufficient to persuade him to write and publish, then why offer him
 100 more bonus years?

Haydn had *no* comyright protection in the modern sense. He had
nothing more than a right to keep the quartets a secret until he sold
them to the first publisher. After that, he collected no fees on them
at all.

Which was the case throughout most of music history. But remember also that throughout most of music history, no composer wrote for publication. They composed what was needed for their employment, for their students, what was asked for (or ordered) by their patrons, and so on. Does anyone actually believe that Petrucci paid Josquin or Marco Cara royalties for their sales? I'm trying to recall whether there actually were any true freelance composers before Haydn's 10 years in Vienna, and Mozart's later 10 years, and i can't think of any. (Maybe because they starved to death!) As much as some composers traveled around, they traveled from appointment to appointment, not just from city to city.

It's hard for those of us involved in classical music to realize or admit, but NONE of that music was written for posterity. It was written for immediate use by musicians usually well known to the composer, in performances supported by the court or church that employed them. And there was a continuing demand for new music. That's the real reason they kept composing. We certainly can't compare that with 20th century academic composers. The closer comparison would be with popular songwriters. And in the absence of copyright, ALL music was public domain as soon as it became available "in fixed form"!!

John


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John & Susie Howell
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