Kooperativer Bibliotheksverbund

UID:

Format: 1 online resource (xii, 241 pages) : , digital, PDF file(s).

ISBN: 9781782041238 (ebook)

Content: The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers could not achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary from the new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.

Note: Title from publisher's bibliographic system (viewed on 02 Oct 2015).

Additional Edition: Print version: ISBN 9781843837411

Language: English

URL: http://www.cambridge.org/core/product/identifier/9781782041238/type/BOOK

URL: Volltext  (lizenzpflichtig)

UID:

Format: XII, 241 S. , Ill.

ISBN: 1843837412 , 9781843837411

Note: Elgar was, for the most part, a freelance composer, and often complained about his lack of income from music publishers and other sources. This book examines his claims, and analyzes the ways in which composers in England during Elgar's time were held to much worse copyright and royalty terms than other creative artists. With a preface, introduction, appendix, bibliography and index

Language: English

Keywords: Elgar, Edward 1857-1934 ; Einkommen

UID:

Format: 1 online resource (xii, 241 pages) : , digital, PDF file(s).

ISBN: 1-78204-123-0

Content: The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers could not achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary from the new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.

Note: Title from publisher's bibliographic system (viewed on 02 Oct 2015). , Frontcover; Contents; Preface; Introduction; 1 Opportunities for British Composers; Economic Factors; Attitudes to Work; Rational Recreation; Religious Influences; The Reordering of Music; Sacred Music; Parish Churches; Cathedrals; Choral Societies; The English Musical Renaissance; Concerts and Opera; 2 Authors, Painters and Composers; Authors; The Terms Available; Distribution; Literary Agents; Authors' Earnings; Anthony Trollope; Mary Ann Evans (George Eliot); Charles Dickens; The Society of Authors; Painters; The Demand for Paintings; The Artist and the Market; Artists' Earnings , ComposersThe Performing Right; The Law; The Copyright Commission 1875-76; Some Practical and Commercial Considerations; The Thirteen as Twelve Trade Custom; The Sale or Hire of Parts; Other Points; The Failure to Come Together; Sir Arthur Sullivan; 3 Novello and the Music Publishing Business; The Rise of Novello up to 1866; The Catalogues 1904 to 1907; Church Services, Canticles, Anthems and Hymns; Glees, Madrigals, Part-Songs and Choruses; Oratorios, Cantatas and Other Works; Tonic Sol-fa; Other; The Business 1898 to 1914; The Business 1915 to 1934 , Novello's Financial Arrangements with its ComposersSamuel Coleridge-Taylor; Charles Gounod; Sir John Stainer and Sir Charles Stanford; 4 Novello, Royalties and Copyrights to 1914 and the 1904 Royalty Agreement; The Early Days to 1900; The Period 1901 to 1914; The 1904 Royalty Agreement; The End of the Agreement; 5 Novello, Royalties and Copyrights 1914 to 1934 and other Music Publishers; The War Years 1915 to 1918; The Period 1919 to 1921; The Period 1922 to 1934; Music Publishers; Boosey and Co.; Major Works; Songs and an Instrumental Work; The Royalties 1928 to 1933; Elkin and Co. Ltd , Enoch & SonsKeith Prowse; Other Music Publishers; 6 Royalties and Copyrights on Elgar's Major Works; Enigma Variations; The Dream of Gerontius; The Apostles; The Kingdom; Symphony No. 1; Violin Concerto; Symphony No. 2; Cello Concerto; 7 Elgar's Performing Fees and George Bernard Shaw; Novello and the PRS; Symphony No. 1; Violin Concerto; Symphony No. 2; Falstaff; Cello Concerto; Boosey, the PRS and Elgar; Elgar and the PRS; Elkin, the PRS and Elgar; George Bernard Shaw; Shaw as Publisher; Shaw and America; Shaw the Businessman; Shaw and his Earnings , 8 Elgar's Earnings from Broadcasting, Recording and ConductingBroadcasting Fees; The BBC and the PRS; The PRS, the BBC and Elgar; Novello, the BBC and Elgar; Boosey, the BBC and Elgar; Elkin, the BBC and Elgar; Recording: Mechanical Fees and Royalties; Elgar and The Gramophone Co.; Conducting Fees; The Early Years to 1899; The Period 1900 to 1913; The War Period 1914 to 1918; The Period 1919 to 1934; Summary; 9 A Matter of Wills; 10 Epilogue; Appendix: Bank of England, Inflation Calculator; Bibliography; Index; Backcover , English

Additional Edition: ISBN 1-84383-741-2

Language: English

DOI: 10.1515/9781782041238

UID:

Format: 1 online resource (xii, 241 pages) : , digital, PDF file(s).

ISBN: 1-78204-123-0

Content: The late nineteenth century was a propitious time for British composers. But while the demand from music publishers for their works grew substantially, the copyright and royalty terms were such that even successful composers could not achieve the levels of earnings enjoyed by other creative artists such as authors, painters and dramatists. However, in the early twentieth century, new sources of earnings emerged, notably performing fees, broadcasting fees and royalties from record sales. Unlike other leading contemporary British composers, who also held prestigious, salaried positions, Elgar was, by his own volition, a freelance composer who relied entirely on the precarious earnings from his works, supplemented by conducting fees and a brief tenure at Birmingham University. As a result, although Elgar achieved fame, status and recognition in his lifetime, both nationally and internationally, his earnings did not match the standard of living to which he aspired. This lack of money, exacerbated by too much expenditure, was a constant source of worry, complaint and frustration to Elgar, even though he had become a beneficiary from the new sources of income in the twentieth century. Elgar's Earnings investigates whether Elgar's complaints about a lack of money can be justified by the facts. Drawing on hitherto neglected primary sources, especially the Novello Business Archive, John Drysdale examines the relatively poor terms offered by music publishers to composers of serious music in general and Elgar in particular and explores the reasons why successful painters and authors, such as G. B. Shaw, could obtain much better terms. This comparative analysis enriches our understanding of the economic and social forces at work in nineteenth and early twentieth century Britain and shows how Elgar, despite his insecure financial position, helped to establish the profession of the English composer, to the lasting benefit of future generations. JOHN DRYSDALE is a musicologist and former investment banker.

Note: Title from publisher's bibliographic system (viewed on 02 Oct 2015). , Frontcover; Contents; Preface; Introduction; 1 Opportunities for British Composers; Economic Factors; Attitudes to Work; Rational Recreation; Religious Influences; The Reordering of Music; Sacred Music; Parish Churches; Cathedrals; Choral Societies; The English Musical Renaissance; Concerts and Opera; 2 Authors, Painters and Composers; Authors; The Terms Available; Distribution; Literary Agents; Authors' Earnings; Anthony Trollope; Mary Ann Evans (George Eliot); Charles Dickens; The Society of Authors; Painters; The Demand for Paintings; The Artist and the Market; Artists' Earnings , ComposersThe Performing Right; The Law; The Copyright Commission 1875-76; Some Practical and Commercial Considerations; The Thirteen as Twelve Trade Custom; The Sale or Hire of Parts; Other Points; The Failure to Come Together; Sir Arthur Sullivan; 3 Novello and the Music Publishing Business; The Rise of Novello up to 1866; The Catalogues 1904 to 1907; Church Services, Canticles, Anthems and Hymns; Glees, Madrigals, Part-Songs and Choruses; Oratorios, Cantatas and Other Works; Tonic Sol-fa; Other; The Business 1898 to 1914; The Business 1915 to 1934 , Novello's Financial Arrangements with its ComposersSamuel Coleridge-Taylor; Charles Gounod; Sir John Stainer and Sir Charles Stanford; 4 Novello, Royalties and Copyrights to 1914 and the 1904 Royalty Agreement; The Early Days to 1900; The Period 1901 to 1914; The 1904 Royalty Agreement; The End of the Agreement; 5 Novello, Royalties and Copyrights 1914 to 1934 and other Music Publishers; The War Years 1915 to 1918; The Period 1919 to 1921; The Period 1922 to 1934; Music Publishers; Boosey and Co.; Major Works; Songs and an Instrumental Work; The Royalties 1928 to 1933; Elkin and Co. Ltd , Enoch & SonsKeith Prowse; Other Music Publishers; 6 Royalties and Copyrights on Elgar's Major Works; Enigma Variations; The Dream of Gerontius; The Apostles; The Kingdom; Symphony No. 1; Violin Concerto; Symphony No. 2; Cello Concerto; 7 Elgar's Performing Fees and George Bernard Shaw; Novello and the PRS; Symphony No. 1; Violin Concerto; Symphony No. 2; Falstaff; Cello Concerto; Boosey, the PRS and Elgar; Elgar and the PRS; Elkin, the PRS and Elgar; George Bernard Shaw; Shaw as Publisher; Shaw and America; Shaw the Businessman; Shaw and his Earnings , 8 Elgar's Earnings from Broadcasting, Recording and ConductingBroadcasting Fees; The BBC and the PRS; The PRS, the BBC and Elgar; Novello, the BBC and Elgar; Boosey, the BBC and Elgar; Elkin, the BBC and Elgar; Recording: Mechanical Fees and Royalties; Elgar and The Gramophone Co.; Conducting Fees; The Early Years to 1899; The Period 1900 to 1913; The War Period 1914 to 1918; The Period 1919 to 1934; Summary; 9 A Matter of Wills; 10 Epilogue; Appendix: Bank of England, Inflation Calculator; Bibliography; Index; Backcover , English

Additional Edition: ISBN 1-84383-741-2

Language: English

DOI: 10.1515/9781782041238