On Music, Money and Markets : Comparing the Finances of Great Composers / edited by Thomas Baumert, Francisco Cabrillo

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Intro -- 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.