提個貝多芬與出版之間有點關係的部份... 原 PO 所提貝多芬投資銀行, 其實不是他的晚期 剛再看了一下 Grove online 那是 1813 左右的事 在 1810 左右, Grove 上說, 他窮的快被鬼抓走, 所以產量大增 而 op.8x-9x 都是他最有名的作品 戰爭交響曲也為他賺不少錢 no.7 的交響曲也不錯...首演都四小時了結束後還被要求安可 所以他有錢後, 開始投資銀行 但這之後, 開始發生了著名的卡爾事件 弄得他本來有的錢都快沒了 偏偏打官司又耗時, 當時社會也不太安 然後他的贊助人又開始成鳥獸散...自此之後他開始跟莫札特同一國 (以上請看 Grove 中, 第 8 點之後, 1813-1821 這一段) 有關出版社, Grove 中相關的我選下來 (第 18 點中) When a work had been completed it was Beethoven’s concern to find a publisher for it. The importance that he attached to publishers throughout his life is shown by the extent and range of his correspondence with them – for he contrived to persuade himself that his livelihood depended on selling his music to them, though he was in fact maintained largely by aristocratic subventions. At that time all a composer could expect was a lump sum for the sale of a work. Royalties were unknown. Nor was there any international copyright; within his own country a publisher usually enjoyed some protection for the works he had bought, but they could be freely copied (pirated) abroad. Thus it was a composer’s concern to obtain the largest sum for each composition. In the case of Beethoven, whose later works involved many months or even years of labour, there was every inducement to compare the offers of various publishers and to play them off against each other – a form of behaviour that some modern critics, alerted no doubt by Beethoven’s shrill protestations of commercial probity, have found unattractive. 上面這裡大概說明了前面一系列文章中的一些問題 One plan that interested him was that of publishing a work simultaneously in more than one country – something that Haydn had done with success. The advantage was that a composer could count on receiving two or more fees, and was thus able to settle for a lower sum from each publisher. From the publisher’s point of view little was lost by sharing a work with a foreign publisher, since in practice the market of each country was more or less independent. In spite of the many practical difficulties of delivering manuscripts and synchronizing publication, Beethoven succeeded in getting a fair number of his compositions published by two or more firms in different countries at about the same time. 上面的是我前面有提的 那時的出版商很少有國際形 所以法/英/義等, 不同地區可能就有不同代理商 多賣是好事, 但問題是, 這也會讓樂譜很不統一 因出版商認為 "譜買來了, 我要怎樣都行" 所以可能亂改或亂加 或他們跟本不重示原稿 但貝多芬可不這麼認為...所以他有不少信跟跟出版商吵架:P --

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