At 4:11 PM +0100 2/6/07, shirling & neueweise wrote:
yes, but i'm talking about performance royalties. that is
mechanical (distribution) rights. although of course in some
languages royalties means essentially rights without
specifications as to WHAT rights and would have to be clarified in
context.
Ah, but your question spoke to late 18th, early 19th century
practices. The terms you're now using are all 20th century.
quite possibly, yes probably; i meant i am interested in the
payments to composers for the performance of their works. any
reference to the topic would be appreciated, but based on literature
around the varying topics of patronage and development of the public
concert it would seem that this practice - paying composers for
individual performances of individual works - would have only begun
in the time of mozart through beethoven because of changing modes of
social structures and the shift from direct to indirect patronage to
public concerts.
OK, thanks for that. I'm getting a better feel for what you're
after. But I have trouble equating concert admission fees, whether
for an individual concert or for a subscription series, with
"royalty" payments. The former do not, after all, apply to
"individual works," but rather to whatever is presented in that
concert. The latter, as I mentioned, did not exist in the law (in
the U.S.) until the copyright revision of 1909. Yes, we know that
Mozart promoted his own concerts during his last 10 years in Vienna,
and that certainly qualifies, but what about the case where a
promoter or producer put on concerts and would have used music by
several composers, some newly commissioned, some existing, with no
copyright protection for the existing music? And of course Beethoven
is known for soliciting patronage for his works AFTER composing them.
in most cases in this transition period (and later to some
extent) the payments to the composer (the more significant ones
anyways) would have come directly from the "extended royalty", the
ennobled class until the development of the "true" public concert in
the early-mid 1800s. i read that the first concert hall explicitly
built for music was 1830 in vienna...
Hmm. I thought that the Gewandhaus Orchestra was founded around
1781. Was there no Gewandhaus then? Or perhaps was it privately
organized and owned by the aristocracy?
Very interesting questions, for sure.
John
--
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
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http://www.music.vt.edu/faculty/howell/howell.html
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