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This site introduces unknown composer Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.

Publication of Sheet Music by Classical Composers

I had various chats with ChatGPT4o about the publication of sheet music by early classical composers and Beethoven. I have summarized the discussions about Haydn and Emanuel Bach in separate sections(Publication of Haydnʼs Sheet Music, Publication of Emanuel Bachʼs Sheet Music),but here I will write about what I learned regarding other composers.

I asked ChatGPT4o: "In what form were J. C. Bachʼs works published at the time?"

Johann Christian Bachʼs (J. C. Bach) works were published in various forms as music publishing evolved in the 18th century. Below is an explanation of how his works were published.

Self-Publishing and Patron Support

  1. Self-Publishing:

    • J. C. Bach sometimes self-published his works. This became particularly common after he succeeded in London. Self-publishing was a method for composers to directly market their works.

  2. Patron Support:

    • Bach received support from nobility and royalty, which also facilitated the publication of his works. His patrons included the British royal family and European nobility, and their support helped his works circulate widely.

Contracts with Music Publishers

  1. Contracts with Music Publishers:
    • Bach signed contracts with several renowned music publishers to publish his works. For example, he had relationships with prominent London music publishers like “Welcker” and “Preston,” which allowed his works to be widely sold.

Format and Content of Works

  1. Publication as Collections:

    • Bachʼs works were often published as collections (with opus numbers). These included collections of symphonies, concertos, chamber music, and clavier (harpsichord or piano) pieces. These collections became important resources for music enthusiasts and performers of the time.
    • Example: “Six Symphonies Op. 3” and “Six Piano Concertos Op. 7,” etc.

  2. Individual Scores:

    • They were also published as individual scores. These included works written for specific concerts or events, designed to quickly reach the market.

Distribution and Sale of Sheet Music

  1. Distribution and Sale of Sheet Music:
    • Sheet music was primarily sold at music stores and publishersʼ shops. Additionally, some sheet music was included in regularly issued music magazines and widely distributed.
    • They were sold in major cities like Paris, London, and Vienna, reaching many music enthusiasts and performers.

Advertising and Promotion

  1. Advertising and Promotion:
    • J. C. Bachʼs works were advertised in newspapers and music magazines. This helped widely announce his new works and publications, aiding in sales promotion.
    • Performances at concerts and recommendations from patrons also helped increase the recognition of his works.

Summary

J. C. Bachʼs works were published in various forms as music publishing evolved in the 18th century. Through self-publishing, patron support, and contracts with music publishers, his works circulated widely. They were published as collections and individual scores and sold through music stores, publishersʼ shops, and music magazines. Newspaper advertisements and promotional activities also played important roles. These publishing activities made J. C. Bachʼs music widely known among music enthusiasts and performers of the time.



I asked ChatGPT4o: "It is said that Emanuel Bach also self-published his works. Was self-publishing common among composers at the time?"

For 18th-century composers, self-publishing was an important means of widely distributing their works. Many composers, including Emanuel Bach (C.P.E. Bach), engaged in self-publishing. Below is a detailed explanation of the music publishing situation at the time.

Background and Motivation for Self-Publishing

  1. Maintaining Control:

    • By self-publishing, composers could maintain complete control over the editing, printing, and sale of their works. This made it easier for the composerʼs intentions regarding the quality and content of the works to be respected.

  2. Economic Benefits:

    • Self-publishing was also a means for composers to directly earn sales profits. When contracting with publishers, a portion of the revenue would go to the publisher, so self-publishing had the potential to yield more revenue.

  3. Increasing Recognition:

    • Through self-publishing, composers could widely promote their names and works. Especially when introducing new styles or techniques, self-publishing was an effective means.

Composers Who Engaged in Self-Publishing

  1. Emanuel Bach (C.P.E. Bach):

    • Emanuel Bach was one of the composers who actively engaged in self-publishing. He self-published many keyboard works and theoretical books, distributing them widely. His “Essay on the True Art of Playing Keyboard Instruments” is a representative work that was self-published.

  2. Ludwig van Beethoven:

    • Beethoven also engaged in self-publishing. Especially some of his late piano sonatas and symphonies were self-published. This allowed Beethoven to maintain complete control over his works.

  3. Joseph Haydn:

    • Although Haydn often received support from patrons, he also engaged in self-publishing. Especially the symphonies composed during his stay in London were sometimes self-published.

Prevalence of Self-Publishing

Summary

From the 18th to the 19th century, self-publishing was an important means for composers, and many renowned composers engaged in self-publishing. Through self-publishing, composers could maintain control over their works and directly earn economic benefits. Additionally, self-publishing was widely used as an effective method to widely introduce their works and styles. As seen in the examples of Emanuel Bach and Beethoven, self-publishing became a common practice in the music world of the time.

...



I asked ChatGPT4o: "Did publishers at the time ever make demands on the content of music or alter it without permission?"

In the world of music publishing from the 18th to the 19th century, it was indeed the case that publishers sometimes made demands on the content of music or altered it without permission. Such actions could have significant impacts on the publishing industry and relationships with composers. Below is an explanation of the specific situations and background at the time.

Background of Publishersʼ Demands and Alterations

  1. Market Needs:

    • Publishers sometimes altered works to meet market demands. They might change parts of a work or add arrangements to suit specific regions or audiences.
    • Example: A Parisian publisher might arrange a German composerʼs work in a French style for a French audience.

  2. Technical Changes:

    • Publishers often made changes to sheet music for technical reasons. This included changes for printing convenience or to improve the readability of the sheet music.

Relationship Between Composers and Publishers

  1. Contracts and Agreements:

    • Some composers included clauses regarding alterations in their contracts with publishers. This allowed composers to have some control over changes to their works.
    • Example: Beethoven sometimes imposed strict conditions on alterations in his contracts with publishers.

  2. Trust Relationship:

    • Trust was important between composers and publishers. Reliable publishers were expected to respect the composerʼs intentions and avoid unauthorized alterations.

Specific Cases

  1. Mozart:

    • Mozartʼs works were sometimes altered in various ways after his death. Especially opera arias and orchestral works were subject to changes by publishers or arrangers.

  2. Beethoven:

    • Beethoven was very sensitive to alterations of his works. He actively participated in the publishing process to ensure his works were accurately conveyed. Nevertheless, some publishers made changes to meet market demands.

  3. Haydn:

    • Haydnʼs works were also sometimes altered for specific markets or audiences. His oratorios and symphonies were sometimes arranged to suit audiences in different regions.

Impact and Response of Publishers

  1. Editing and Revision:

    • Publishers played a role in improving the quality of works through editing and revision, but this could result in outcomes different from the composerʼs intentions.

  2. Composersʼ Reactions:

    • Composers showed various reactions to publishersʼ alterations. Some, like Beethoven, strongly opposed them, while others accepted a certain degree of alteration.

Summary

From the 18th to the 19th century, it was indeed the case that publishers sometimes made demands on the content of music or altered it without permission. Works were sometimes changed to meet market demands, technical reasons, or the preferences of audiences in different regions. However, trust was important in the relationship between composers and publishers, and composers sought to have their intentions respected. Many composers actively participated in the publishing process to ensure their works were accurately conveyed.



I asked ChatGPT4o: "Was a single piece of music published by only one company, or was it published by multiple companies?"

From the 18th to the 19th century, it was common for a composerʼs works to be published by multiple publishers. This was due to the commercial practices of music publishing at the time, the state of copyright, and the intentions of the composers. Below is an explanation of the background and impact of the same work being published by multiple publishers.

Background of Publication by Multiple Companies

  1. State of Copyright:

    • In Europe from the 18th to the early 19th century, copyright laws were not yet fully developed, so it was common for the same work to be published by multiple publishers. Once a composer released a work, other publishers could copy and publish it.

  2. Market Demand:

    • When a particular work became popular, multiple publishers sought to profit by publishing it. Especially for popular composers and works, it was common for them to be published in different regions or countries.

  3. Composersʼ Intentions:

    • Composers themselves sometimes contracted with multiple publishers. This allowed for widespread distribution of their works and access to different markets.

Specific Cases

  1. Johann Sebastian Bach:

    • Bachʼs works were published by many publishers both during his lifetime and after his death. After his death, especially his son C.P.E. Bach collaborated with multiple publishers to spread his works.

  2. Ludwig van Beethoven:

    • Beethovenʼs works were also published by multiple publishers. He often marketed the same work to different publishers to access a broader market. This was also a strategy to earn more revenue.

  3. Franz Joseph Haydn:

    • Haydnʼs symphonies and chamber music works were sometimes published by different publishers at the same time. His works were popular throughout Europe, and many publishers handled his works.

Impact of Publication by Multiple Companies

  1. Widespread Distribution:

    • By being published by multiple publishers, works could be distributed more widely and reach more audiences. This helped enhance the composerʼs reputation.

  2. Differences in Editions:

    • When the same work was published by different publishers, subtle differences in content could arise between editions. This was due to publishers making their own edits or errors during printing.

  3. Diversification of Revenue:

    • Composers could earn revenue from multiple publishers, providing economic stability. Additionally, competition among publishers could sometimes lead to better contract terms.

Summary

From the 18th to the 19th century, it was common for a composerʼs works to be published by multiple publishers. This was due to the underdeveloped state of copyright laws at the time, market demand, and composersʼ strategies. Publication by multiple publishers allowed for widespread distribution of works, enhancing the composerʼs reputation and providing economic benefits. However, differences in content between editions could also arise. In such a situation, composers strategically chose publishers to ensure their works were appropriately distributed.



I asked ChatGPT4o: "Given that copyright was not established, did publishers sometimes publish sheet music without notifying the composers?"

From the 18th to the early 19th century, because copyright laws were not as strict as they are today, publishers sometimes published sheet music without notifying the composers. This was due to the practices and legal situation of the music publishing industry at the time. Below is an explanation of the details and impact of this practice.

State of Copyright Law

  1. Legal Underdevelopment:
    • In Europe at the time, copyright laws were still developing, and there was no strict copyright protection as there is today. As a result, composersʼ works could be reproduced and published without permission.
    • Example: In England, the first copyright law, the “Statute of Anne,” was enacted in 1709, but the establishment of copyright protection was delayed in other countries.

Reality of Unauthorized Publishing

  1. Practice of Unauthorized Publishing:

    • When a composerʼs work became popular, it was common for publishers to reproduce and publish the sheet music without permission. Especially when crossing international borders, it was difficult to apply copyright, so unauthorized publishing by foreign publishers was common.
    • Example: Works by Haydn and Mozart were sometimes published by multiple publishers without their consent.

  2. Pirated Editions:

    • Unauthorized published sheet music circulated in the market as so-called “pirated editions.” These pirated editions were often indistinguishable from legitimate editions and could impact the composerʼs revenue.

Impact on Composers

  1. Economic Loss:

    • Unauthorized publishing could result in economic loss for composers. Unless composers had formal publishing contracts, they could not receive revenue from unauthorized published sheet music.

  2. Difficulty in Managing Works:

    • Unauthorized publishing made it difficult for composers to properly manage their works. The presence of different editions in the market could lead to a loss of uniformity in the works.

Composersʼ Countermeasures

  1. Contracts with Multiple Publishers:

    • To prevent unauthorized publishing, composers sometimes signed contracts with multiple publishers. This could somewhat suppress unauthorized publishing in different regions.

  2. Lawsuits and Legal Measures:

    • As copyright laws gradually developed, composers could take legal action against unauthorized publishing. Beethoven, for example, sometimes filed lawsuits against unauthorized publishing.

Summary

From the 18th to the early 19th century, because copyright laws were not fully established, it was common for publishers to publish sheet music without notifying the composers. This unauthorized publishing could result in economic loss and difficulty in managing works for composers. Composers took measures such as signing contracts with multiple publishers, but complete prevention was difficult. With the development of copyright laws, composersʼ rights protection advanced, and legal measures against unauthorized publishing became possible.



I asked ChatGPT4o: "Did composers receive any money for sheet music published without their permission?"

From the 18th to the early 19th century, composers rarely received money for sheet music published without their permission. Below is an explanation of the reasons and specific situations.

Reasons and Background

  1. Underdeveloped Copyright Law:

    • At the time, copyright laws were underdeveloped, and there was no system of copyright protection as there is today. This made it difficult for composers to legally prevent unauthorized publishing of their works, and there were limited means to receive financial compensation.

  2. Practice of Unauthorized Publishing:

    • Many publishers commonly published popular works by composers without permission, making the sales their own profit. In such cases, composers did not receive revenue from unauthorized published sheet music due to the lack of formal contracts.

Specific Cases and Impact

  1. Haydn:

    • Joseph Haydnʼs works were often published without permission. Especially his symphonies and string quartets were very popular, and many publishers published these works without permission. Haydn himself found it difficult to take legal action against this and rarely received revenue from unauthorized publishing.

  2. Mozart:

    • Wolfgang Amadeus Mozart also had his works published without permission. His operas and piano concertos were published without permission, and the sales became the publishersʼ profit.

  3. Beethoven:

    • Ludwig van Beethoven was very sensitive to unauthorized publishing of his works. He attempted to secure strict contracts with publishers to counter unauthorized publishing, but it was still not completely preventable.

Composersʼ Countermeasures

  1. Legal Measures:

    • As copyright laws were gradually established, composers could take legal action against unauthorized publishing. Beethoven, for example, sometimes filed lawsuits against unauthorized publishing, but there were limitations in the legal system at the time.

  2. Formal Contracts:

    • To prevent unauthorized publishing, composers signed formal contracts with multiple publishers. This allowed for clear agreements regarding the publication and distribution of revenue from their works.

Summary

Composers usually did not receive money for sheet music published without their permission. Because copyright laws were underdeveloped, unauthorized publishing was common, and composers could not enjoy the revenue from it. Composers attempted to counter unauthorized publishing through legal measures and formal contracts, but there were limitations in the legal system at the time. In such a situation, composers took various measures to properly manage their works and earn revenue, but it was difficult to completely prevent unauthorized publishing.



I asked ChatGPT4o: "Even though copyright laws were established, was Beethoven unable to counter unauthorized publishing?"

Even in the early 19th century, when copyright laws were being established, Ludwig van Beethoven faced difficulties in countering unauthorized publishing. Several factors influenced this situation. Below is an explanation of the details.

State of Copyright Law at the Time

  1. Regional Differences and Delayed International Legal Development:

    • In the early 19th century, copyright laws varied from country to country. For example, in England, certain copyright protections were established by the “Statute of Anne,” but in other European countries, legal development was still insufficient in some regions. Therefore, copyright in one country was not necessarily recognized in another.

  2. Lack of International Copyright Protection:

    • There was no international copyright protection system to prevent Beethovenʼs works from being published without permission in other countries. This meant there were limited legal means to prevent unauthorized publishing when works crossed borders.

Beethovenʼs Response and Challenges

  1. Contracts and Legal Measures:

    • Beethoven tried to protect his copyright by signing strict contracts when publishing his works. However, even with contracts, their content was not always recognized internationally. Additionally, legal measures required time and cost, and success was not guaranteed.

  2. Contracts with Multiple Publishers:

    • Beethoven attempted to suppress unauthorized publishing by contracting with multiple publishers simultaneously for his works. However, this was only a temporary measure and often did not lead to a fundamental solution.

Specific Cases and Impact

  1. “Symphony No. 9”:

    • Beethovenʼs “Symphony No. 9” was published without permission in many countries even during his lifetime. Especially since it was very popular throughout Europe, it was common for publishers to reproduce and publish it without permission.

  2. “Für Elise”:

    • Beethovenʼs “Für Elise” was also published without permission by many publishers. After his death, the ambiguous management of the rights to this work contributed to the spread of unauthorized publishing.

Impact on Later Generations

  1. Progress in Copyright Law:

    • The issues of unauthorized publishing in Beethovenʼs time influenced the later development of copyright laws. Especially from the late 19th to the early 20th century, the importance of international copyright protection was recognized, and international treaties on copyright were established.

  2. Berne Convention:

    • The “Berne Convention,” established in 1886, was an important treaty for establishing international copyright protection, allowing composersʼ rights to be more widely protected. This treaty was a step toward solving the issues of unauthorized publishing in Beethovenʼs time.

Summary

Even in the early 19th century, when copyright laws were being established, Ludwig van Beethoven faced difficulties in countering unauthorized publishing. This was due to regional differences, the lack of international copyright protection, and limitations in legal measures. Beethoven took measures through strict contracts and contracts with multiple publishers, but he could not completely prevent unauthorized publishing. This experience contributed to the later development of copyright laws and the recognition of the importance of international copyright protection.



I asked ChatGPT4o: "Was there a difference in content between the official edition and unauthorized copies?"

Yes, from the 18th to the early 19th century, there were cases where the content of the same piece differed depending on the publisher. This was due to several reasons, and below is an explanation of the background and specific examples.

Reasons and Background

  1. Differences in Editorial Policies:

    • Each publisher published sheet music based on its own editorial policies. Editors sometimes made independent changes based on the composerʼs intentions.

  2. Printing Errors and Limitations of Printing Technology:

    • Printing technology at the time had limitations, and printing errors occurred frequently. This could lead to differences in details between different editions.

  3. Regional Interpretations:

    • Due to differences in performance styles and interpretations in each country or region, publishers sometimes adjusted sheet music to suit local preferences.

  4. Unauthorized Publishing and Pirated Editions:

    • The presence of unauthorized publishing and pirated editions meant that sheet music with content different from the official edition circulated in the market. These editions were often not faithful to the original.

Specific Cases

  1. Ludwig van Beethovenʼs Symphonies:

    • Beethovenʼs symphonies were published by many publishers, but each edition often included different instructions and edits. For example, instructions for fingering and phrasing could differ.

  2. Johann Sebastian Bachʼs Works:

    • Bachʼs works also sometimes had different content when published by different publishers. Especially after Bachʼs death, his works were edited by various editors, leading to different interpretations and additional ornamentations.

  3. Wolfgang Amadeus Mozartʼs Piano Sonatas:

    • Mozartʼs piano sonatas also sometimes had different content in different editions. Publishers often added fingerings and ornamentations, leading to differences between editions.

Impact and Response

  1. Confusion Among Performers:

    • Performers could become confused by using different editions. Especially when the same piece contained different instructions and interpretations, deciding which edition to use became an issue.

  2. Uncertainty of the Composerʼs Intentions:

    • The existence of different editions could make it difficult to understand the composerʼs original intentions. Especially when the composer was not involved in the editing, it was challenging to determine which edition was the most accurate.

  3. Importance of Critical Editions:

    • To solve these issues, critical editions were created in later times. Critical editions compare multiple editions and provide content considered closest to the composerʼs intentions. For example, Beethovenʼs works have editions edited by Hans von Bülow and Artur Schnabel.

Summary

From the 18th to the early 19th century, it was common for the content of the same piece to differ depending on the publisher. This was due to differences in editorial policies, limitations of printing technology, regional interpretations, and unauthorized publishing. As a result, performers and researchers needed to compare different editions and choose the one most faithful to the composerʼs intentions. In later times, critical editions were created to help solve these issues.

...



I asked ChatGPT4o: “How much time did Beethoven spend on lawsuits?”

Ludwig van Beethoven is known for filing lawsuits against copyright infringement and unauthorized publishing, but due to the lack of detailed records, it is difficult to specify exactly how much time he spent on them. However, from several specific cases, we can infer how much effort he put into copyright issues.

Cases of Beethovenʼs Copyright Lawsuits

  1. “Missa Solemnis” Case:

    • Beethoven filed a lawsuit against the unauthorized publication of his “Missa Solemnis.” He was determined to strictly protect the rights to this work and took a strong stance against unauthorized publishing.
    • Time and Effort: The specific duration of the lawsuit is not recorded, but Beethoven is said to have worked on this issue for a long time. The legal process was complex and likely required a lot of time and effort.

  2. “Diabelli Variations” Case:

    • When participating in a variation project organized by Anton Diabelli, parts of Beethovenʼs “Diabelli Variations” were published without permission. Beethoven also took legal action against this issue.
    • Time and Effort: Similarly, the specific time is unknown, but Beethoven actively responded to this matter.

Beethovenʼs Efforts to Protect Copyright

Impact and Conclusion

While there are limited records of the specific time Beethoven spent on lawsuits against copyright infringement and unauthorized publishing, it is clear that he devoted a lot of time and effort to these issues. Beethoven actively acted to protect his works and rights, engaging in strict contracts and legal proceedings. This emphasized the importance of copyright protection and had a significant impact on later composers.



I asked ChatGPT4o: "Were the scores published by Haydn and Beethoven more trusted than those copied without permission?"

The scores officially published by Joseph Haydn and Ludwig van Beethoven were generally considered more reliable than those copied without permission. Below is an explanation of the reasons for this.

Reasons for the Reliability of Official Editions

  1. Supervision by the Composer:

    • Official editions were supervised and edited by the composers themselves, so they were considered most faithful to the composersʼ intentions. Haydn and Beethoven actively participated in the publishing process to ensure their works were accurately conveyed.

  2. Accuracy of Editing:

    • Official editions were edited by reliable publishers and were said to have fewer typographical errors and inaccuracies. For example, Beethoven often revised his scores multiple times to provide accurate editions.

  3. Approval by the Composer:

    • Official editions were published with the composerʼs approval, reflecting the music as intended by the composer. This is important for accurately understanding and conveying the composerʼs intentions.

Problems with Unauthorized Copies

  1. Lack of Editing:

    • Unauthorized copies were not supervised or edited by the composer, so they often contained many typographical errors and inaccuracies. This increased the risk of performers making incorrect interpretations.

  2. Alteration of Content:

    • In unauthorized copies, editors or copyists sometimes altered the content without permission. This included changes in fingering and the addition of ornamentations, which could distort the composerʼs intentions.

  3. Lack of Reliability:

    • Unauthorized copies were considered unreliable and often deemed inappropriate for academic research or accurate performance. Compared to official editions, they were often inaccurate and considered lacking in reliability.

Specific Examples

  1. Beethovenʼs Symphonies:

    • Beethovenʼs symphonies have official editions supervised by him. These editions include detailed instructions and serve as important materials for accurate performance.
    • On the other hand, unauthorized copies often omitted these details or conveyed them incorrectly.

  2. Haydnʼs String Quartets:

    • Haydnʼs string quartets also have highly regarded official editions supervised by him. Haydn emphasized the accurate transmission of his works and provided reliable editions.
    • In unauthorized copies, ornamentations and phrasing changes were made, and Haydnʼs intentions were not accurately conveyed.

Summary

The scores officially published by Joseph Haydn and Ludwig van Beethoven were generally considered more reliable than those copied without permission. This is because official editions were supervised and edited by the composers themselves, making them most faithful to the composersʼ intentions. On the other hand, unauthorized copies often contained typographical errors and alterations, lacking reliability. The existence of official editions made academic research and accurate performance possible, allowing the composerʼs intentions to be accurately conveyed.



I asked ChatGPT4o: "Which had more sales, official editions or unauthorized copies?"

There are no exact statistics on the sales of official editions and unauthorized copies, so it is difficult to specify which had more sales, but considering the situation at the time, some assumptions can be made.

Reasons for Higher Sales of Unauthorized Copies

  1. Underdeveloped Copyright Law:

    • In Europe from the 18th to the early 19th century, copyright laws were still developing, and it was common to publish sheet music without permission. As a result, many publishers copied and sold popular composersʼ works without permission.

  2. Low Price:

    • Unauthorized copies were often cheaper than official editions, making them more accessible to more people. Especially for general music enthusiasts and amateur performers, low-priced sheet music was attractive.

  3. Widespread Distribution:

    • Unauthorized copies were sometimes sold in a wider range of regions than official editions. This means that when official publishing contracts were limited to specific regions or countries, unauthorized copies were widely distributed in other regions.

Importance of Official Edition Sales

  1. Reliability and Quality:

    • Official editions were supervised by the composers themselves and accurately edited, making them reliable and important for professional performers and academic researchers. They tended to purchase official editions to obtain accurate sheet music.

  2. Composersʼ Intentions:

    • Official editions, which accurately reflected the composersʼ intentions, were often used in educational institutions and concert halls. This increased the demand for official editions.

Specific Examples

  1. Beethoven:

    • Beethovenʼs works had many unauthorized copies circulating both during and after his lifetime. Especially his symphonies and piano sonatas were very popular, and many publishers published them without permission.
    • Official editions, supervised by Beethoven himself, were trusted by professional performers and researchers, but in the general market, unauthorized copies may have been widely distributed.

  2. Haydn:

    • Haydnʼs works also had many unauthorized copies. His string quartets and symphonies were very popular, and many publishers copied and sold them without permission.
    • Official editions supervised by Haydn himself were important for performers and researchers seeking accurate sheet music, but unauthorized copies may have been widely distributed.

Summary

There are no exact statistics on the sales of official editions and unauthorized copies, but considering the underdeveloped state of copyright laws at the time, the low price of unauthorized copies, and their widespread distribution, it is likely that unauthorized copies had more sales. However, for performers and researchers who valued reliability and quality, official editions played an important role. Official editions were important for accurately conveying the composersʼ intentions and were preferred and used in professional environments.



I asked ChatGPT4o: "Were public performances ever conducted using unauthorized copies?"

From the 18th to the 19th century, it was not uncommon for public performances to be conducted using unauthorized copies. Due to insufficient copyright protection at the time, unauthorized copies and pirated editions were widely circulated, and they were sometimes used in performances. Below is an explanation of the background and specific examples.

Background

  1. Insufficient Copyright Protection:

    • At the time, copyright laws were still developing, and unauthorized copies and pirated editions were not adequately regulated. As a result, unauthorized published sheet music was widely circulated.

  2. Ease of Access to Sheet Music:

    • Unauthorized copies and pirated editions were often cheaper and more accessible than legitimate editions, making them attractive to performance groups and individual performers with limited budgets.

  3. Reality of Performances:

    • In organizing performances, the reliability and accuracy of sheet music were not always prioritized. Especially in local performances and amateur group performances, unauthorized copies were often used.

Specific Examples

  1. Beethovenʼs Symphonies:

    • Beethovenʼs symphonies were very popular, and unauthorized copies were widely circulated. These unauthorized copies were sometimes used in public performances. Especially in local orchestras and amateur orchestras, where there was no budget to obtain legitimate editions, it was common to use unauthorized copies.

  2. Mozartʼs Operas:

    • Mozartʼs operas were also frequently copied without permission, and these unauthorized copies were sometimes used in performances. Especially in regions with lax copyright protection, unauthorized copies became a major resource.

Issues of Reliability

  1. Typographical Errors and Editorial Differences:

    • Unauthorized copies often contained typographical errors and inaccurate editing, which could affect performances. Especially when nuances and instructions differed in details, there could be significant differences in the quality of performances.

  2. Inaccurate Reflection of Composersʼ Intentions:

    • Unauthorized copies often did not accurately reflect the composersʼ intentions, leading to interpretations that differed from the composersʼ intentions. This could result in a decline in the quality of performances.

Composers and Publishersʼ Responses

  1. Efforts to Promote Official Editions:

    • Composers and publishers made various efforts to promote official editions. For example, Beethoven published sheet music under his supervision to promote the distribution of accurate editions.

  2. Legal Measures:

    • Legal measures were sometimes taken against unauthorized publishing. Composers, their heirs, and publishers filed lawsuits and made efforts to regulate unauthorized publishing, but there were limitations in the legal system at the time.

Summary

It was common for public performances to be conducted using unauthorized copies from the 18th to the early 19th century. Due to insufficient copyright protection, unauthorized copies were widely circulated and often used in performances, especially by performance groups with limited budgets and in local performances. The use of unauthorized copies was accompanied by issues of reliability, and they often did not accurately reflect the composersʼ intentions. Composers and publishers made efforts to promote official editions, but it was difficult to completely prevent unauthorized publishing under the legal system at the time.



I asked ChatGPT4o: "How much cheaper were unauthorized copies compared to legitimate editions?"

Unauthorized copies (pirated editions) from the 18th to the early 19th century were often offered at significantly lower prices than legitimate editions, but there is no exact data to show the specific price difference, so I will explain based on general assumptions.

Background of the Price of Unauthorized Copies

  1. Reduction of Printing Costs:

    • Publishers of unauthorized copies could significantly reduce printing costs by omitting payments to composers and legitimate publishers. This allowed unauthorized copies to be sold at lower prices than legitimate editions.

  2. Decline in Quality:

    • Unauthorized copies often had inferior paper quality and printing, which also contributed to setting lower prices. Legitimate editions used high-quality paper and printing technology, which tended to increase costs.

  3. Market Strategy:

    • Publishers of unauthorized copies commonly adopted a strategy of lowering prices to enhance competitiveness in the market. This allowed them to appeal to a broader customer base and increase sales.

Estimated Price Difference

There is no exact data on the specific price difference, but based on the following factors, it can be assumed that unauthorized copies were often offered at less than half the price of legitimate editions.

  1. No Payment to Composers:

    • Legitimate editions included copyright fees to composers and official editors, so unauthorized copies omitted this and were set at lower prices.

  2. Simple Binding:

    • Unauthorized copies often had simple binding and covers, which also contributed to cost reduction. Legitimate editions featured durable binding and beautiful covers, which were reflected in the price.

  3. Mass Production:

    • Unauthorized copies were often produced in large quantities to meet demand, allowing for cost reduction through economies of scale. In contrast, legitimate editions took time for quality control and editing, leading to higher costs.

Specific Examples of Comparison

  1. Beethovenʼs Symphonies:

    • The legitimate editions of Beethovenʼs symphonies were likely priced high due to detailed editing and high-quality printing. Unauthorized copies, omitting these costs, may have been sold at half to one-third the price of legitimate editions.

  2. Haydnʼs String Quartets:

    • Similarly, Haydnʼs string quartets were characterized by high-quality editing and printing in legitimate editions, while unauthorized copies omitted these and were offered at lower prices.

Summary

Unauthorized copies were generally offered at significantly lower prices than legitimate editions. Although there is no exact data on the specific price difference, it is likely that unauthorized copies were sold at less than half the price of legitimate editions. This was influenced by the omission of copyright fees and high-quality printing costs, simple binding, and economies of scale. Unauthorized copies were widely circulated at low prices, making them an attractive option, especially for performers and amateur music enthusiasts with limited budgets.



I asked ChatGPT4o: "How much money did composers receive by contracting with publishers?"

From the 18th to the early 19th century, the monetary compensation composers received by contracting with publishers varied greatly depending on the composerʼs fame, negotiating power, the importance of the work, and the specific terms of the contract. Below is an explanation of the general range of compensation and specific examples.

General Range of Compensation

  1. Advance Payment:

    • Composers commonly received advance payments from publishers when providing works. An advance payment is a form of paying a portion of the future revenue the composer will receive based on the sales of the work.
    • The amount varied depending on the composerʼs fame and the scale of the work, but for famous composers, it could reach several hundred to several thousand florins (a German currency unit).

  2. Royalties:

    • Some contracts included the composer receiving a certain royalty for each sale of the sheet music. The royalty rate was usually a few percent to about 10 percent of the total revenue.
    • However, due to the underdeveloped state of copyright laws and contractual practices at the time, royalties were often not paid.

  3. Additional Compensation:

    • There were also contracts where composers received additional compensation for meeting specific conditions. For example, additional compensation might be paid if a certain sales number was reached or if additional works were provided.

Specific Examples

  1. Ludwig van Beethoven:

    • Beethoven was able to receive high advance payments from publishers by leveraging his negotiating power. For example, he is said to have received an advance payment of 2000 florins from the Streicher company for his “Symphony No. 9.”
    • He also succeeded in securing royalty contracts with publishers for some of his works.

  2. Joseph Haydn:

    • Haydn published many works under contracts with Viennaʼs Artaria and Parisʼs Imbault. His contracts for symphonies and string quartets included advance payments and royalties.
    • For example, his “London Symphonies” are said to have received a high advance payment from Salomon in London.

  3. Wolfgang Amadeus Mozart:

    • Mozart earned a certain income through publishing contracts, but during his lifetime, copyright protection was still insufficient, and most of his income depended on advance payments.
    • For example, his “Piano Concerto No. 20” was published with an advance payment from Artaria.

Summary

From the 18th to the early 19th century, the monetary compensation composers received by contracting with publishers included advance payments, royalties, and additional compensation. The specific amount varied depending on the composerʼs fame and the importance of the work, and for famous composers, it was common to receive advance payments ranging from several hundred to several thousand florins. Composers like Beethoven, Haydn, and Mozart leveraged their negotiating power to secure favorable terms and earn significant income.



I asked ChatGPT4o: "How much was 1 florin worth in yen during Beethovenʼs lifetime?"

Converting the value of 1 florin during Beethovenʼs time to modern Japanese yen is challenging, but based on the following information, we can attempt a rough estimate.

Value of Florin at the Time

Conversion to Current Value

Hypothesis and Estimation

Therefore, it is estimated that 1 florin during Beethovenʼs time was worth approximately 10,000 yen in modern Japanese currency.

Summary

It is estimated that 1 florin during Beethovenʼs time was worth approximately 10,000 yen in modern Japanese currency. This estimate is based on living costs and wages at the time and, while there are limitations to accurate conversion, it is a realistic estimate considering the cost of daily life.



I asked ChatGPT4o: "Does that mean Beethoven received an advance payment equivalent to 20 million yen for the publication of Symphony No. 9?"

If Beethoven received an advance payment of 2000 florins for the publication of “Symphony No. 9,” the hypothesis that this would be equivalent to approximately 20 million yen in modern Japanese currency holds.

Assumptions and Estimation

Specific Case

Beethovenʼs “Symphony No. 9” is one of his most important works, and there are records that he received a high advance payment for its publication. This amount reflects his fame and the importance of the work.

Conclusion

If Beethoven received an advance payment of 2000 florins for the publication of “Symphony No. 9,” that amount would be equivalent to approximately 20 million yen in modern Japanese currency. This amount indicates that Beethovenʼs works were highly valued at the time, both artistically and economically.

However, this is only an estimated value, and while it does not account for the economic conditions and currency fluctuations of the time, it serves as a useful indicator for understanding the general value.



I asked ChatGPT4o: "How much advance payment did Haydn and Mozart receive?"

There are some specific records of the advance payments received by Joseph Haydn and Wolfgang Amadeus Mozart, and like Beethovenʼs “Symphony No. 9,” they were often substantial amounts. Below are some examples of the advance payments they received.

Joseph Haydn

  1. London Symphonies:

    • Haydn visited London from 1791 to 1795, where he composed the symphonies known as the “London Symphonies.” During this period, he received a substantial advance payment from the impresario Johann Peter Salomon in London.
    • Example Amount: Haydn is said to have received 1200 pounds per year for a series of symphonies from Salomon. Converting this to florins, with 1 pound being approximately 9.75 florins, it amounts to about 11,700 florins. Converting this to modern Japanese yen, it is approximately 117 million yen.

  2. Other Works:

    • Haydn also received substantial advance payments for the publication of his string quartets and operas. His fame and influence led publishers to find high value in his works.

Wolfgang Amadeus Mozart

  1. Piano Concertos:

    • Mozartʼs piano concertos were very popular, and many of his works were published during his lifetime. For example, his Piano Concerto No. 20 was published with an advance payment from Artaria.
    • Example Amount: The amount Mozart received as an advance payment was often several hundred florins per work. Specifically, for piano concertos and symphonies, it was common to receive advance payments of around 200 to 400 florins.

  2. Operas:

    • Mozartʼs operas also received substantial advance payments. His representative operas “The Marriage of Figaro” and “Don Giovanni” are said to have received advance payments of several hundred florins each.

Comparison and Summary

Haydn and Mozart were highly valued in their respective times and received substantial advance payments. These advance payments indicate that their works were very important at the time and held significant economic value.



I asked ChatGPT4o: "Does the fact that high advance payments were made mean that publishers could still make a large profit even with unauthorized copies circulating?"

Whether publishers could make a large profit despite paying high advance payments depends on several factors. These factors include the publishing situation at the time, the composerʼs fame, the demand for sheet music, and the impact of unauthorized copies. Below is a detailed explanation.

Factors and Background

  1. Composersʼ Fame and Popularity:

    • Composers like Joseph Haydn and Wolfgang Amadeus Mozart were very popular and famous at the time. Their works were in high demand, and official editions of sheet music sold well.

  2. Quality of Official Editions:

    • Official editions were supervised by the composers and accurately edited, making them reliable and preferred by professional performers and music education institutions. This ensured high demand for official editions.

  3. Publishersʼ Strategies:

    • Publishers emphasized the quality and reliability of official editions and differentiated them from unauthorized copies. They also added value by including the composerʼs signature or special binding in official editions.

Impact of Unauthorized Copies and Response

  1. Price Competition:

    • Unauthorized copies were often offered at low prices, making them attractive to general music enthusiasts and amateur performers. However, official editions were of higher quality and were prioritized by professional performers and music education institutions.

  2. Legal Measures:

    • Composers and publishers sometimes took legal measures against unauthorized copies, but due to the limitations of copyright laws at the time, complete regulation was difficult. Nevertheless, publishers continued efforts to reduce unauthorized copies.

Securing Revenue

  1. Extensive Distribution Network:

    • Publishers had extensive distribution networks and widely distributed official editions throughout Europe. This allowed official editions to be sold in many regions, securing revenue.

  2. Diverse Publications:

    • Publishers diversified their revenue by publishing not only single works but also complete collections and multiple works by composers. This allowed sales of each work to accumulate, resulting in significant profits.

Specific Cases

  1. Haydnʼs London Symphonies:

    • The symphonies Haydn composed in London were very popular, and publishers like Salomon in London widely sold these symphonies. Despite paying high advance payments, these works generated significant revenue due to high demand.

  2. Mozartʼs Operas:

    • Mozartʼs operas were also very popular, and publishers like Artaria widely sold these works. Despite paying advance payments, the popularity and demand allowed them to make significant profits.

Summary

Despite paying high advance payments, publishers could make significant profits from the works of renowned composers like Joseph Haydn and Wolfgang Amadeus Mozart due to high demand. Even with unauthorized copies circulating, factors such as the quality and reliability of official editions, extensive distribution networks, and diversified publications allowed publishers to achieve economic success.

...



I asked ChatGPT4o: "In modern times, it is difficult to earn from classical and contemporary music, but was it because Beethoven and Haydn could earn from sheet music publication and concerts that it was the popular music of the time and other entertainment was limited?"

There are several reasons why Beethoven and Haydn could earn from sheet music publication and concerts, including the social and cultural background of the time, the importance of music, and the limited entertainment options. Below is a detailed explanation of these reasons.

1. Social and Cultural Background of Music at the Time

  1. Importance of Music:

    • From the 18th to the 19th century, music held a very important position in social life. For courts, nobility, and wealthy citizens, music had high cultural value and was central to social gatherings.

  2. Patronage System:

    • Composers often received support from noble and royal patrons. For example, Haydn was under the patronage of the Esterházy family for many years, contributing to his economic stability.

2. Revenue from Concerts and Sheet Music Publication

  1. Concert Revenue:

    • Beethoven and Haydn held concerts to perform their works, generating revenue. Especially Beethoven regularly held concerts in Vienna, which became one of his main sources of income.

  2. Sheet Music Publication:

    • Sheet music publication was also an important source of income. Composers contracted with publishers and received advance payments and royalties. They also engaged in self-publishing to earn direct revenue. Haydn and Beethoven were able to generate significant revenue through this.

3. Limited Entertainment Options

  1. Limited Entertainment:

    • In Europe at the time, there were not as many diverse entertainment options as there are today, making music one of the important forms of entertainment. Concerts, operas, and home music performances were enjoyed as the main forms of entertainment.

  2. Home Music:

    • Many households played musical instruments, and home music was popular. This increased the demand for sheet music, creating a favorable market for composers and publishers.

4. Comparison with Modern Times

  1. Modern Music Market:

    • In modern times, the way music is consumed has diversified, and recording technology and digital distribution have become widespread. This has made it difficult to earn solely from live performances and sheet music publication.

  2. Diversification of Entertainment:

    • With movies, television, the internet, and games, modern entertainment options are very diverse. This has relatively reduced the proportion of music as entertainment.

Summary

Beethoven and Haydn could earn from sheet music publication and concerts due to the social and cultural background of the time, the importance of music, the patronage system, and limited entertainment options. Music held a very important position in society at the time, and composers could succeed economically by meeting that demand. On the other hand, in modern times, the diversification of the music market and entertainment has made it difficult to earn in the same way, but by utilizing digital distribution and diverse revenue models, some composers and performers are finding new ways to succeed.



I asked ChatGPT4o: "Can you provide grounds to refute the idea that ʼIn modern times, it is difficult to earn from classical and contemporary music, but Beethoven and Haydn could earn from sheet music publication and concerts because it was the popular music of the time and other entertainment was limitedʼ?"

It is possible to provide grounds to refute the idea that Beethoven and Haydn could succeed in sheet music publication and concerts simply because "it was the popular music of the time and other entertainment was limited." Below are the grounds for this refutation.

1. Exceptional Musical Talent and Innovation

Innovation and High Level of Skill:

2. Social and Economic Networks

Strong Support and Networks:

3. Economic Independence and Self-Management

Independent Activities:

4. High Demand and Dissemination

Dissemination and Demand for Music:

5. Education and the Social Role of Music

Development of Music Education:

Summary

The success of Beethoven and Haydn in sheet music publication and concerts was not simply because "it was the popular music of the time and other entertainment was limited." Their exceptional musical talent, innovation, strong social and economic networks, independent activities, high demand and dissemination, and the development of music education all combined to create the foundation for their success. These elements interacted with each other, providing the basis for their success.



I asked ChatGPT4o: "If the reasons for Beethoven and Haydnʼs success in sheet music publication and concerts were exceptional musical talent, innovation, strong social and economic networks, independent activities, high demand and dissemination, and the development of music education, is it because modern classical and contemporary musicians lack talent, innovation, networks, etc., that they cannot achieve great success?"

It cannot be concluded that modern classical and contemporary musicians cannot achieve great success simply because they "lack talent, innovation, networks, etc." Rather, several complex factors influence this, including modern-specific environments and situations. Below is a detailed explanation of these factors.

1. Changes in the Music Market

Digitization and the Spread of Streaming:

Competition with Diverse Entertainment:

2. Social and Cultural Factors

Changing Audience Preferences:

Changes in Education:

3. Economic Factors

Difficulty in Securing Funding:

Changes in the Patronage System:

4. Promotion and Marketing

Need for Self-Promotion:

Intensified Competition:

Summary

The difficulty for modern classical and contemporary musicians to achieve great success is not solely due to a lack of talent, innovation, or networks. It is influenced by a wide range of factors, including changes in the music market, social and cultural factors, economic challenges, and the difficulties of promotion and marketing. These factors are intricately intertwined, creating a situation where it is challenging for modern musicians to achieve the same level of success as Beethoven and Haydn.

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Created: 2024-12-13 22:57   Edited: 2025-03-28