In the first comprehensive study in almost three-quarters of a century of all Joseph Haydn’s Masses, two distinguished Haydn scholars bring to these masterworks the light of a treasury of recently discovered documents and new editions.
The powerful and elegant Austrian Masses of Franz Joseph Haydn are examined with thorough precision and dedication by Don V Moses and Robert W. Demaree, lifelong Haydn performers and scholars.
It has been almost seventy years since the last such study of these masterpieces, and a flood of long-hidden scores and documents uncovered over that time span (especially from the Esterházy princely archives and sources from behind the former Iron Curtain). The Masses of Joseph Haydn builds on foundations laid in the twentieth century by the research of Brand, Larsen, Landon, Feder, Schenbeck, and others.
These exciting recoveries have prompted a Haydn renaissance in Europe and America, one in which the trite, misleading image of Haydn as simple, rustic “Papa” has been replaced by a genuine one: he is now recognized as the shrewd and innovative founder of the Viennese Classical style, the mentor of Mozart, the principal influence on Beethoven, and the master of the choral/orchestral Mass setting.
The Masses of Joseph Haydn examines chronologically the history, sources, character, style, and performance choices within each of the Haydn Masses in careful detail. All this is set in a framework of Haydn’s involvement with church music over his whole life span, and, in the context of his childhood as a singer, his career as Kapellmeister to the Princes Esterházy, and his international prestige at the turn of the nineteenth century.
Publishers are trying to get a disproportionate share of profits.
Publishers are showing their lack of long-term thinking –
- Instead of cutting prices for readers and encouraging reading they are setting unrealistic ebook prices.
- They want to spend less on ebooks than they used to on books and still make more.
- Instead of giving authors more of a share they want to have the same royalty rate.
Basically, Publishers are saying –
Costs are lower and our role is diminished (and perhaps no longer necessary). So we guess we should get an even larger piece of the pie.
It makes zero sense.
Authors don’t owe Publishers anything
Has a Publisher ever gone to an author and said –
Your book was a huge hit. So we’ve bumped up your royalty from 15% to 25%.
Not to the best of my knowledge.
Why then should authors let Publishers take an even larger piece of the pie?
- As long as Publishers had the power they took the lion’s share of profits.
- Now they don’t have the power and they will have to get used to not getting the lions’ share.
On Monday December 28 the ChoralNet Board of Directors unanimously approved a motion to dissolve the non-profit corporation ChoralNet, Inc. and merge ChoralNet operations with the American Choral Directors Association effective January 1, 2010.
Washington, widely regarded as the choral capital of the nation, lost two of its large choruses in May. Both the Maryland Chorus, a largely non-student organization of the University of Maryland School of Music, and the Master Chorale, one of the city’s four large symphonic choruses, were compelled to shut down. As audiences decline and the recession eats into budgets, the closures seemed a possible foretaste of things to come — even, perhaps, an indication of what might happen to other large classical music organizations, such as orchestras, in the straitened economy.But if volunteer choruses are serving as a canary in the coal mine, the air appears to be better than we thought. Because if old choruses are closing, new ones are springing up to replace them — with far smaller budgets and more flexible organizations.