By Michael Talbot
Is company, for track, a regrettable necessity or a spur to creativity? Are there limits to the impact that financial elements can or should still exert at the musical mind's eye and its product? within the 11 essays contained during this e-book the authors combat with those questions from the point of view in their selected quarter of analysis. the variety is vast: from 1700 to the current day; from the opera residence to the group centre; from composers, performers and pedagogues to managers, publishers and attorneys; from piano miniatures to folks tune and pa CDs. If there's a consensus, it really is that track serves its personal pursuits most sensible while it harnesses enterprise instead of denying it.
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Additional info for Business of Music (Liverpool University Press - Liverpool Music Symposium)
Johann Adam Hiller, Lebensbeschreibungen berühmter Musikgelehrten und Tonkünstler neuerer Zeit, Leipzig, Dykische Buchhandlung, 1784, pp. 128–46, at pp. 132–36. 52. Venice, Museo Civico Correr, Ms. Cicogna 1178. In Vio (1989) the satire is transcribed complete on pp. 103–8, the introduction on pp. 118–19. A Venetian Operatic Contract 37 Penelope) to her gondola. 53 Chelleri recovered well enough to try his luck again at Sant’Angelo two seasons later, having evidently made his peace with the theatre in the meantime.
These accounts reveal a jumble of boxes duly paid for in advance and others paid for in arrears, sometimes long after the season had closed. At Sant’Angelo the situation may have been especially difficult, since the impresario, not a noble himself, could put less pressure on a noble box-tenant than one of the latter’s confrères could. The contract anticipates this difficulty, promising Denzio the full support of the co-proprietors and the practical assistance of Rosa in extracting payment. 57 The manner in which the 640 ducats making up the endowment (or rather, their value as expressed in boxes) are distributed among the coproprietors is interesting (it emerges from the list that follows).
It is obvious which theatre had the most, and which the least, money to spend. The hike in singers’ fees during the 1720s was undoubtedly stimulated by the continuing ‘globalisation’, as one might call it, of Italian opera. London, favoured by England’s greater prosperity, paid the most generously of all. There, Faustina could command a fee of £2,000, equivalent to about 80,000 lire. Clause 2 Because the co-proprietors were also the owners of the boxes (a situation that was not the case, or not fully so, in theatres with a single owner), they had a massive stake in realising the expected income from each of them.