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Chapter 24 - Publishers

from Part III - Performance and Publishing

Published online by Cambridge University Press:  15 May 2019

By
Peter Schmitz
Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

Since Brahms only had a salaried position for brief periods (as choral director in Detmold, 1857–9, director of the Vienna Singakademie 1863–4 and artistic director of the Gesellschaft der Musikfreunde 1871–5), he had to support himself primarily by other means. Apart from concert fees, he relied on the honoraria his publishers paid him and did not receive royalties. Indeed, his relationships with his publishers are a means of tracing his stratospheric career trajectory. As a young man, Brahms was forced to tout his works to publishers and enter into protracted and wearying negotiations, which jarred against his artistic principles. In later years, he was a universally courted composer who could determine the conditions under which his work would be published. In fact, after 1869, it was virtually only one publisher, Fritz Simrock, who issued all of Brahms’s new works.

Keywords

BrahmscontextpublisherSchumannBreitkopfRieter-BiedermannAstorSimrockincomearrangement
Type
Chapter
Information
Brahms in Context , pp. 236 - 245
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Biba, O., ‘Die Simrocks – Verleger für Beethoven wie für Brahms’, in Ottendorff-Simrock, W. (ed.), Das Haus Simrock. Beiträge zur Geschichte einer kulturtragenden Familie des Rheinlandes, rev. ed. I. Bodsch (Bonn: Stadtmuseum Bonn, 2003), 57–68Google Scholar
Bozarth, G., ‘Brahms and the Breitkopf & Härtel Affair’, The Music Review 55/3 (August 1994), 202–13Google Scholar
Bozarth, G. (ed.), The Brahms-Keller Correspondence (Lincoln and London: University of Nebraska Press, 1996)Google Scholar
Hofmann, R., ‘Vier Briefe des Verlages J. Rieter-Biedermann an Johannes Brahms’, in Struck, M. (ed.), Johannes Brahms: Ein deutsches Requiem – Stichvorlage des Klavierauszuges (Kiel: Kulturstiftung der Länder, 1994), 13–26Google Scholar
Hofmann, K., ‘Zu den Beziehungen zwischen Johannes Brahms und Fritz Simrock’, 32 Stichvorlagen von Werken Johannes Brahms, (Kiel: Kulturstiftung der Länder, 1995), 7–16Google Scholar
Joelson-Strohbach, H., ‘Vom Winterthurer Musikverleger Jakob Melchior Rieter-Biedermann’, Librarium: Zeitschrift der Schweizerischen Bibliophilen-Gesellschaft 34 (1991), 51–66Google Scholar
Kirsch, K., Von der Stichvorlage zum Erstdruck. Zur Bedeutung von Vorabzügen bei Johannes Brahms (Kassel: Bärenreiter, 2013)Google Scholar
Lawford-Hinrichsen, I.. Music Publishing and Patronage: C. F. Peters: 1800 to the Holocaust (Kenton: Edition Press, 2000)Google Scholar
Schmitz, P., Johannes Brahms und der Leipziger Musikverlag Breitkopf & Härtel (Göttingen: V & R Unipress, 2009)Google Scholar
Stephenson, K. (ed.), Johannes Brahms und Fritz Simrock – Weg einer Freundschaft. Briefe des Verlegers an den Komponisten (Hamburg: J. J. Augustin, 1961)Google Scholar
Struck, M., ‘Vom Einfall zum Werk – Produktionsprozesse, Notate, Werkgestalt(en)’, in Brahms Handbuch, 171–98Google Scholar
Sulzer, P., ‘13 neu aufgefundene Postkarten und ein Brief von Johannes Brahms an Jakob Melchior Rieter-Biedermann’, Brahms-Studien 6 (1985), 31–60Google Scholar
Van Orden, K., Music and the Cultures of Print (New York: Garland, 2000)Google Scholar

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