Catalogación provisional. Signatura: N-10145. Depósito J.

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.

Did you know that Bach invested in mines? That Rossini improved his income by running casinos in the opera houses which on weekends performed his operas? Or that Puccini composed shorter arias to make them fit the length of gramophone disks as they reported him huge revenues? Or who was, in financial terms, the most successful classical composer in history? This book —the first of its kind— studies and compares the finances of twenty classical composers in their historical and economical context. Each chapter details and quantifies the sources of income of these musicians (wages, royalties, subsidies, percentages over the number of performances, arrangements, investments in the musical sector, etc), thus allowing to estimate the income they obtained due to their artistic — primarily compositional, but also related— activities. In addition, it also estimates the composer’s expenditures, thus drawing a relatively complete image of their personal finances. This not only allows to concludeto create a ranking of composers according to their economic success, but —more importantly— for the first time gives an accurate image of the financial situation of a broad set of composers. This allows to correct many false believes while also giving new insights on the relation between economics and music history.

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