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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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Elgar's Earnings (Hardcover, New)
Loot Price: R2,349
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Elgar's Earnings (Hardcover, New)
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Although Elgar achieved fame, status and recognition in his
lifetime, his earnings did not match the standard of living to
which he aspired. The late nineteenth century was a propitious time
for British composers. But while the demand from music publishers
for their works grew substantially, the copyright and royalty terms
were such that even successful composers couldnot achieve the
levels of earnings enjoyed by other creative artists such as
authors, painters and dramatists. However, in the early twentieth
century, new sources of earnings emerged, notably performing fees,
broadcasting fees and royalties from record sales. Unlike other
leading contemporary British composers, who also held prestigious,
salaried positions, Elgar was, by his own volition, a freelance
composer who relied entirely on the precarious earnings from his
works, supplemented by conducting fees and a brief tenure at
Birmingham University. As a result, although Elgar achieved fame,
status and recognition in his lifetime, both nationally and
internationally, his earnings did not match the standard of living
to which he aspired. This lack of money, exacerbated by too much
expenditure, was a constant source of worry, complaint and
frustration to Elgar, even though he had become a beneficiary
fromthe new sources of income in the twentieth century. Elgar's
Earnings investigates whether Elgar's complaints about a lack of
money can be justified by the facts. Drawing on hitherto neglected
primary sources, especially the Novello Business Archive, John
Drysdale examines the relatively poor terms offered by music
publishers to composers of serious music in general and Elgar in
particular and explores the reasons why successful painters and
authors, such as G. B. Shaw, could obtain much better terms. This
comparative analysis enriches our understanding of the economic and
social forces at work in nineteenth and early twentieth century
Britain and shows how Elgar, despite his insecure financial
position, helped to establish the profession of the English
composer, to the lasting benefit of future generations. JOHN
DRYSDALE is a musicologist and former investment banker.
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