Private jets and full stadium concerts were not always the way of life even for a first class musician. From music as free gift to copyrights, the road was long and bumpy.
From gift to asset
Probably the most important milestone in music business was the introduction of copyrights. After this, music business in general is about these rights and their transfers among composer or songwriter, publishers and the consumer.
Prior to copyrights and modern thinking, music was not conceived as property belonging to someone. In ancient Greek and Roman times poetry and singing accompanied by music was regarded as a gift from the gods. As such, copyright was unthinkable. This mindset is still dominating later times like the Middle Ages. Especially true for sacred music of the Church, where such musical revelations were to serve the glorification of God. This approach to music and musician was dominant till the Renaissance.
Until then, the single most important musical development in these slow moving centuries, was the invention of the staff (11th century) and music writing. This not only helped to create more complex musical compositions, provided base for musical education, but also allowed composers to see themselves as thinkers and creators, as a new craft.
During the Renaissance era the status of the composer was on the raise. Along the sacred music secular works appeared to satisfy the demand of wealthy aristocrats. A good example for this is Monteverdi, who composed operas and stage music for the court of Mantua (Gonzaga family).
Technology of printing was a new invention and helped music to develop as an industry. Initially printing was a very capital hungry enterprise as operating the machines required many employees. To make such a business and keep it in the black numbers, a new social class (wealthy citizens) needed to appear in order to provide demand for these products. At this point, the intellectual property as a concept, still did not exist in the public thinking. Even with printed musical scores, it was rather the physical product than the composer behind, that carried the value.
Arriving to the focus of this article, the 18th and 19th centuries, music as business became more established and later with the introduction of copyrights, a sustainable living for musicians. In these years, next to the physical products as assets, the audible performance of the music (and the performer) became marketable, too. New social classes emerged, parallel to aristocracy and rich upper-class, also lower classes showed interest in music. Starting with J.S.Bach, keyboard sonatas were composed and published not only for the highest musical expression, but for amateurs to practice and learn.
The status of the musician
Before the raise of the musician as an artist (mostly carried the flag by Beethoven and his demanding nature), composers (and musicians) were employees. They were employed by the Church, royals or wealthy aristocrats. Their position was no different than any ordinary household servant position.
Those who had the desire and the financials, kept a complete orchestra and sometimes even smaller opera stages. The financially less capable hired only a few musicians for chamber music. Often these people had second jobs at the house, like a cook or maintenance, meaning that the level of their professionalism is not comparable to the modern day musician.
Probably, the most famous musician in this status was Haydn, who was hired by the Esterhazy family for three decades. He was lucky, as the family had (apart from Haydn) one of the finest orchestras in Europe.
Mozart was the first to try his hands at freelancing even as a young composer. He was struggling and always in need of money. His operas and subscription concerts were his main sources.
The first really free composer was Beethoven (Handel may be an exception who lived in capitalist London and had different opportunities compared to Continental musicians). He had more sources of income and was free to compose whatever he wished to compose. Although he enjoyed the support of wealthy patrons and always had commissioned works, he could easily fill a concert room with paying customers. These, for the first time were not only from the nobility and top-ten-percent merchants, but also from other social classes.
How did Beethoven make money?
It is important to underline that even after Beethoven, for many decades to come, the relative freedom and financial stability these composers enjoyed, were the privilege of the few. Big names, like of Beethoven, took most of the opportunities and the money coming from these pockets. For most, being a musician was a lifestyle to be rather poor and exposed.
Through the example of Beethoven, who utilized all available income sources, let us look at the contemporary opportunities of a musician!
1. Annuity from wealthy patrons
This is something completely unique to Beethoven. In 1808 Beethoven received an invitation from the King of Westphalia to come to his court and be the local celebrity as his Kapellmeister. Viennese hard core fans of Beethoven forged an alliance to keep him home and offered him a yearly 4 000 florins (something like 70-90 thousand USD in 21st century) annuity with the only condition to stay.
2. Commissioned music
This is a kind of name sponsoring. A wealthy person ordered a new piece, like Count Franz von Oppersdorff who commissioned his Fourth and Fifth Symphony, and in return the music was dedicated to him, often also having exclusive rights to the score for a certain period (usually six to twelve months). Through these commissions many aristocrats created a name for themselves for eternity.
3. Concerts
In those days concert events were not frequent. Partly demand was limited to certain social classes, partly the organization was an achievement in itself. All duties, like renting a place, hiring an orchestra, rehearsal, marketing materials (like posters), etc. all had to be organized and done by the composer.
4. Printed scores
The printing and distribution was managed by publishers. These companies often paid a flat fee for a certain work and no royalties were included in the contracts. Learning the technique from Haydn, Beethoven often sold the rights to a limited territory, this way the same composition could be sold to more publishers all over Europe. With these publications timing was essential as pirate copies soon started to circulate.
5. Having students
Masters of music were sought after to teach promising young talents. Sometimes talent played no role, just a wealthy family wished to educate their children in music. Even Beethoven had such pupils, often ladies, with whom he often fell in love…
