By Michael Talbot
Is company, for tune, a regrettable necessity or a spur to creativity? Are there limits to the impact that fiscal components can or may still exert at the musical mind's eye and its product? within the 11 essays contained during this booklet the authors combat with those questions from the point of view in their selected quarter of study. the variety is large: from 1700 to the current day; from the opera residence to the neighborhood centre; from composers, performers and pedagogues to managers, publishers and legal professionals; from piano miniatures to folks song and pa CDs. If there's a consensus, it really is that tune serves its personal pursuits top while it harnesses enterprise instead of denying it.
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Additional info for Business of Music (Liverpool University Press - Liverpool Music Symposium)
Whatever the general truth of this, it cannot apply to Sant’Angelo, where, so far as one knows, there were no independent boxholders. Besides, it would be very odd if such boxholders were able to acquire boxes only at the outer fringes of the seating. 1792–94 (as viewed from the stage) soffitta forni 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 C ‘slips’ circle 3° ordine Z D B 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 A C X tier 4 2° ordine Z D A 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 O C X tier 3 1° ordine Z D B 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 A C X tier 2 pepian 7 6 5 4 3 2 1 F C X tier1 Z H G 27 26 25 24 23 22 21 20 19 18 17 16 15 13 12 11 10 9 8 Notes The palchi proscenici nuovi (new proscenium boxes) are the outside columns (Z and X).
No money is provided ‘up front’, and the impresario has the onus of realising, through letting, the value implicit in the boxes and part-boxes that constitute this endowment. In principle, boxes were to be paid for in advance, so that most of the endowment could be used by the 56. It is interesting that Santurini’s contract of 1702 with the theatre’s owners (see note 11, above) allows two boxes for the use of the singers. Perhaps one is equivalent to the box of the protettore in the 1714 contract.
Relatively few people making relatively frequent visits) is already implied by the practice of booking boxes for a whole season in advance. In those seasons with more operas than the norm, one can often detect a crisis merely from the nature of the programmed works: the replacement opera may be a pasticcio (a patchwork opera assembled from old and new components) stitched together by the season’s musical director or a work dredged up from old repertoire. Strangely, the variable length of the Carnival season (Shrove Tuesday can fall on any day between 3 February and 9 March) seems not to have been an important factor in determining the number of operas performed.
Business of Music (Liverpool University Press - Liverpool Music Symposium) by Michael Talbot