Download Business of Music (Liverpool University Press - Liverpool by Michael Talbot PDF

By Michael Talbot

Is enterprise, for tune, a regrettable necessity or a spur to creativity? Are there limits to the impression that financial elements can or may 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 region of study. the diversity is huge: from 1700 to the current day; from the opera condominium to the group centre; from composers, performers and pedagogues to managers, publishers and attorneys; from piano miniatures to folks track and dad CDs. If there's a consensus, it truly is that track serves its personal pursuits top whilst it harnesses company instead of denying it.

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Here, one suspects that the additions were pre-planned and not necessarily a reaction to the failure of programmed operas. As a rare specimen of an impresario who was also a musical director able to compose new works (or arrange old ones) extremely quickly, Vivaldi may have been tempted to adopt a ‘scatter-gun’ policy – to come armed with a surplus of operas in the hope that at least one of them would win public favour. The contract also requires of the operas that they be ‘in good and creditable form’.

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. Doubtless, the three seasons when we know that an administrator had to step in at Sant’Angelo form only the tip of an iceberg. Opera was a precarious business. Clause 3 It has already been remarked that subcontraction and partnership were a Venetian way of life.

A Venetian Operatic Contract 23 in the world of opera (one is reminded of the solo performers who today ‘reinvent’ themselves unexpectedly as conductors). Impresarios were normally pleased to remain in the shadows, hoping (more often than not in vain) that their name would not become more widely known as a result of litigation. Most of the names of impresarios listed in Appendix B come from dedications to librettos that they signed. A printed libretto, which served the audience as a literary text that could be studied and appreciated in its own right as well as a souvenir programme, was produced under conditions that we could liken to ‘vanity’ publishing today.

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