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The Social Worlds of Nineteenth-Century Chamber MusicComposers, Consumers, Communities$
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Marie Sumner Lott

Print publication date: 2015

Print ISBN-13: 9780252039225

Published to Illinois Scholarship Online: April 2017

DOI: 10.5406/illinois/9780252039225.001.0001

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PRINTED FROM ILLINOIS SCHOLARSHIP ONLINE (www.illinois.universitypressscholarship.com). (c) Copyright Illinois University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ISO for personal use.date: 28 May 2022

Publishing Chamber Music

Publishing Chamber Music

Archival Evidence for Chamber Music Production and Consumption

Chapter:
(p.21) Chapter 1 Publishing Chamber Music
Source:
The Social Worlds of Nineteenth-Century Chamber Music
Author(s):

Marie Sumner Lott

Publisher:
University of Illinois Press
DOI:10.5406/illinois/9780252039225.003.0001

This chapter examines the institution of chamber music publishing by looking closely at three internationally significant publishers. In all three cases, publishers sought to balance their production of “monumental” and “ephemeral” products to establish and maintain a reliable source of income and new musical material for themselves and, by extension, the musicians who relied upon them. Individually, the three firms represent different models with diverse priorities and business strategies: a small business established by a chamber music lover and copyright activist (Hofmeister); a larger firm that grew with the musical marketplace, changing hands at several points and evolving to address the needs of a growing public (Peters); and a midsize firm that specialized in practical music for private and public use (Schlesinger, later Lienau-Schlesinger). Together, these three companies provides a picture of the music business as it developed throughout the Romantic era.

Keywords:   chamber music publishing, musical marketplace, music business, Hofmeister, Peters, Schlesinger

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