Book contents
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part I Personality, People and Places
- Part II Identities, Environments and Influences
- Part III Performance and Publishing
- Chapter 19 Singers
- Chapter 20 Conductors
- Chapter 21 Pianists
- Chapter 22 Other Instrumentalists
- Chapter 23 Instruments
- Chapter 24 Publishers
- Chapter 25 Copyright
- Part IV Society and Culture
- Part V Reception and Legacy
- Further Reading
- Index
- References
Chapter 25 - Copyright
from Part III - Performance and Publishing
Published online by Cambridge University Press: 15 May 2019
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part I Personality, People and Places
- Part II Identities, Environments and Influences
- Part III Performance and Publishing
- Chapter 19 Singers
- Chapter 20 Conductors
- Chapter 21 Pianists
- Chapter 22 Other Instrumentalists
- Chapter 23 Instruments
- Chapter 24 Publishers
- Chapter 25 Copyright
- Part IV Society and Culture
- Part V Reception and Legacy
- Further Reading
- Index
- References
Summary
Three days before Brahms was born on 7 May 1833 in Hamburg, the first weekly illustrated magazine, the Pfennig-Magazin was published. Following on from the success of the Penny Magazine, which had appeared in England since 1832, the Pfennig-Magazin also aimed to reach a broad public. A few months later, the Hamburg music publisher Julius Schubert announced a new music periodical, a Pfennig-Magazin für Pianofortespieler, which offered ‘selected piano compositions for beginners, experienced players and virtuosos’.
Brahms was born at a time in which the market for printed matter, and especially music, was burgeoning as a result of newer, cheaper printing methods and the growing demand from music-making (especially piano-playing) amateurs [see Ch. 14 ‘Private Music-Making’]. Arrangements were very profitable, but since resulting copyright issues were still unresolved, this led to many copyright disputes between publishers from the 1830s onwards [see Ch. 11 ‘As Arranger’].
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- Brahms in Context , pp. 246 - 256Publisher: Cambridge University PressPrint publication year: 2019