On Music, Money and Markets: Comparing the Finances of Great Composers

Foreword by Deirdre Nansen McCloskey
Acknowledgments
Contents
Contributors
1 Introduction: On the Economics of Music and the Finances of Great Composers
	A Note on the Value of Currencies and Incomes in the Nineteenth Century
	References
2 Johann Sebastian Bach and Georg Friedrich Händel: The Economics of Late Baroque Market for Music
	Introduction
	Works and Days
	The Composers’ Professional Careers and Their Reflection in Financial and Musical Terms
	Public Recognition
	Conclusion
	References
3 Joseph Haydn and Wolfgang Amadeus Mozart: A Collusive Friendship
	Introduction
	Haydn Before Mozart
	Mozart’s Early Years
	Mozart: From Salzburg to Vienna
	Haydn’s and Mozart’s Friendship
	Haydn After Mozart
	Concluding Remarks
	References
4 Ludwig van Beethoven and Franz Schubert: The Economic (Un)consciousness of the Artist
	Introduction
	Young Beethoven
	Beethoven’s “Heroic” Period
	Young Schubert
	The Late Beethoven
	The Late Schubert
	Conclusions
	References
5 Gioachino Rossini and Gaetano Donizetti: The Economics of Belcanto
	Introduction
	In Search of Earnings
	Contracts
		The Contracts in Italy
		The Parisian Contracts
		Barbaja Contracts
	Other Sources of Income
	How to Make an Opera Fail
	The Results Achieved
	References
6 Vincenzo Bellini and Giacomo Meyerbeer: Shifting Markets (From Belcanto to the Grand Opera)
	Introduction
	Biographical Aspects
	Economic Resources: Income from Operas and Investments
		Italy
		Paris
		Librettists
	Other Resources
	Press and Claqueurs
		The Press
		Claqueurs
	Meyerbeer and Economics
	Conclusions
	References
7 Felix Mendelssohn and Robert Schumann: Parallel Lives, Liberal Delusions
	Introduction: Two Men and One Destiny
	Child Prodigies
	The First Public Steps of the Two Composers
	Economics and Composition
	Economic Ideas
	Deaths
	Falsified Wake of Two Geniuses
	Conclusion
	Annex 1: Schumann Family Expenditure in 1841
	References
8 Wagner and Verdi: Gesamtkunstwerk and Modern Business
	Music, Nation and Politics
	Early Careers
	From the Home Country to the Conquest of Paris
		Wagner’s Failures in Paris. From Dresden to Exile
		Verdi’s Triumphs in Paris
	Verdi: Music and Business
		A Contract with La Fenice
		The Calzado-Affair
	Wagner: New Years of Pilgrimage. The Road to Wahnfried
		Royal Sponsorship
		Financing the Bayreuth Festival
		A Reflection on Wagner and Money
	Old and New Music: The Italian Battlefield
	Epilogue: Wills and Estates
	References
9 Jacques Offenbach and Johann Strauss II: Operettas, Waltzes, and the Value of Brands
	Introduction
	“Commercial” or “Light” Music
		Popularizing Opera: “The Three Tenors”, 1994–2003
		Technological Improvements: Towards Cultural Industry
		Music Publishing Industry. Property Rights
	Operetta, a Suitable Commercial Product
		Cultural Industry and Globalization: Parisian Operetta Goes Global
	Jacques Offenbach (1819–1880)
		Orphée Aux Enfers
		Musical Merits of Offenbach
	An Assessment on Offenbach as Entrepreneur
	Johann Strauss II (1825–1899) and the Viennese Waltz
		Russian Tour Every Summer, and America
		Musical Merits: Recognition Among Serious Musicians and Critics
		Wealth, Family, and Business
	Conclusion
	References
10 Giacomo Puccini and Richard Strauss: The Economics of Music Up to the Dawn of Fascism
	Introduction
	Biographical Aspects
	Incomes
	Puccini: A Life of Luxury
	Conclusions
	References
11 Manuel de Falla and Igor Stravinsky: From National Schools to International Markets
	The Modern Composer: Monk or Prophet?
	The Assault on Paris: Anti-Bohemian or Avant-Garde?
	The Collapse: Nationalist or Stateless?
	Consolidation: Friends or Partners?
	American Exiles
	An Appendix for Spanish Readers: Manuel de Falla and the Exchange Rate of the Peseta
		Juan Velarde Fuertes
	References