Buying and Selling Music in the (Very) Long Nineteenth Century

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Notes

1 See, for example, Martha Woodmansee’s The Author, Art and the Market: Rereading the History of Aesthetics (New York: Columbia University Press, 1994).

2 Karol Berger, ‘The Ends of Music History, or: The Old Masters in the Supermarket of Cultures’, Journal of Musicology, 31 (2014), 186 –98 (p. 187).

3 The Musician as Entrepreneur, 1700 –1914: Managers, Charlatans, and Idealists, ed. William Weber (Bloomington, IN: Indiana University Press, 2004).

4 See Karen Leistra-Jones, ‘Staging Authenticity: Joachim, Brahms, and the Politics of Werktreue Performance’, Journal of the American Musicological Society, 66 (2013), 397–436.

5 See Benjamin Binder, ‘Song in Concert as Observed by the Schumanns: Toward the Personalization of the Public Stage’, German Song Onstage: Lieder Performance in the Nineteenth and Early Twentieth Centuries, ed. Natasha Loges and Laura Tunbridge (forthcoming, Indiana University Press).

6 See Natasha Loges, review of Marie Sumner Lott, The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities, in Music and Letters, 98 (2017), 144–7.