By Michael Talbot
Is company, for track, a regrettable necessity or a spur to creativity? Are there limits to the effect that financial components 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 strive against with those questions from the viewpoint in their selected zone of study. the variety is vast: from 1700 to the current day; from the opera condo to the neighborhood centre; from composers, performers and pedagogues to managers, publishers and attorneys; from piano miniatures to folks track and pa CDs. If there's a consensus, it's that track serves its personal pursuits most sensible while it harnesses company instead of denying it.
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Additional resources for Business of Music (Liverpool University Press - Liverpool Music Symposium)
44. The plan in reproduced in Mancini (1996), Vol. 2, p. 18. It appears, from all the other evidence, to correspond remarkably closely to the layout of the boxes in 1714. 45. The term is still current in Italian. 46. Mancini (1996) accepts as a general rule that boxes identified by letter instead of number were ones owned personally (rather than rented) by their occupants. Whatever the general truth of this, it cannot apply to Sant’Angelo, where, so far as one knows, there were no independent boxholders.
Not until 1731/32 do we find another Neapolitan composer, Nicola Porpora, and the first use of a libretto by Pietro Metastasio, doyen of the librettists associated with the new wave. 41 This retrenchment probably had economic causes. Operas by a Leo, Vinci or Porpora on a Metastasio libretto were undoubtedly more expensive to mount because they required especially expert and appropriately trained singers – and the Neapolitan ‘invasion’ of the 1720s coincided with an explosion in the fees paid to the leading exponents of the new style, many of whom fell outside the price 39.
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). The fraction of this sum that each of the eight nobles has to contribute, proportionate to his or her share of ownership, is first worked out.