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Society and Musicians in the Eighteenth Century

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Joanna Pepple

on 17 January 2014

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Transcript of Society and Musicians in the Eighteenth Century

Society and Musicians in the Eighteenth Century
The Patronage System
A Case Study of Two Composers:
F.J. Haydn and W.A. Mozart

The Bourgeoisie
F.J. Haydn
W.A. Mozart
Music Publishing
musicians are supported financially by an aristocratic patron
stipend (sometimes)
musicians compose practical music for the patron's court including court operas, chamber music, sacred music for the chapel, songs, music for entertainment, etc.
Some well-known patrons during the eighteenth century:
Peter the Great
Catherine the Great
Maria Theresa
Louis XV
(r. 1715-1780)
Louis XVI
(r. 1774-1793)
Joseph II
(r. 1780-1790)
(r. 1762-1796)
Berlin (Prussia):
Frederick the Great
(r. 1740-1786)
Frederick William II
(r. 1786-1797)
The bourgeoisie is the rising middle class in Europe
more regular citizens attending and being exposed to music concerts and operas
The role of the impresario:
one who arranges concerts, or concert series, by selling tickets and setting up subscriptions
Another name for the "public concert":
Some well-known impresarios:
Johann Christian Bach
Karl Friedrich Abel
Johann Adam Hiller
Gewandhaus Concerts!
François Joseph Gossec
music publishing vs. patronage
as music publishing grew, patronage could gradually diminish
growing consumer class wanted to buy sheet music
Lied appealed to the bourgeoisie
composers moved from trying to satisfy their patrons to trying to satisfy the public
The source of money affects musical style:
(simple structures)
reacted against the patronage system
struggled under the patronage system
worked for the Esterházy family
worked for Count Hieronymus Colloredo
felt isolated from other musicians but persevered in creating an "original" style
went in and out between patronage and was finally fired to look for work on his own
Full transcript