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Chapter 25 - Copyright

from Part III - Performance and Publishing

Published online by Cambridge University Press:  15 May 2019

Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

Three days before Brahms was born on 7 May 1833 in Hamburg, the first weekly illustrated magazine, the Pfennig-Magazin was published. Following on from the success of the Penny Magazine, which had appeared in England since 1832, the Pfennig-Magazin also aimed to reach a broad public. A few months later, the Hamburg music publisher Julius Schubert announced a new music periodical, a Pfennig-Magazin für Pianofortespieler, which offered ‘selected piano compositions for beginners, experienced players and virtuosos’.

Brahms was born at a time in which the market for printed matter, and especially music, was burgeoning as a result of newer, cheaper printing methods and the growing demand from music-making (especially piano-playing) amateurs [see Ch. 14 ‘Private Music-Making’]. Arrangements were very profitable, but since resulting copyright issues were still unresolved, this led to many copyright disputes between publishers from the 1830s onwards [see Ch. 11 ‘As Arranger’].

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Brahms in Context , pp. 246 - 256
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Gerhartl, S., ‘“Vogelfrei” – Die österreichische Lösung der Urheberrechtsfrage in der 2. Hälfte des 19. Jahrhunderts oder Warum es Österreich unterließ, seine Autoren zu schützen’, PhD dissertation, Vienna University (1995)Google Scholar
Kawohl, F. (2008), ‘Commentary on the Leipzig Music Publishers’ Union against Piracy (1830)’, in Bently, L. and Kretschmer, M. (eds.) Primary Sources on Copyright (1450–1900), www.copyrighthistory.orgGoogle Scholar
Kawohl, F. (2008) ‘Commentary on the Prussian Copyright Act (1837)’, in Bently, L. and Kretschmer, M. (eds.) Primary Sources on Copyright (1450–1900), www.copyrighthistory.orgGoogle Scholar

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