To be successful, a musician often has to be an entrepreneur: someone whostarts a performing venue, develops patrons, and promotes the project aggressively.Accomplishing this requires musicians to acquire social and business skills and tobe highly opportunistic in what they do. In The Musician as Entrepreneur, 1700--1914, international scholars investigate cases of musical entrepreneurshipbetween around 1700 and 1914 in Britain, France, Germany, and the United States. Byuncovering the ways in which musicians such as Telemann, Beethoven, Paganini, andLiszt conducted their daily business, the authors reveal how musicians reshaped theframeworks of musical culture and, in the process, the nature of the musicitself.

Preface

I. Overview of the Subject

1. William Weber, "The Musician as Entrepreneur and Opportunist, 1700-1914"

2. Richard Leppert, "The Musician of the Imagination"

II. Early Musical Entrepreneurs

3. Tanya Kevorkian, "Changing Times, Changing Music: 'New Church' Music and Musicians in Leipzig, 1700-1750"

4. David Gramit, "Selling the Serious: The Commodification of Music and Resistance to it in Germany, c. 1800"

III. Concert Management in the Nineteenth Century

5. William Weber, "From the Self-Managing Musician to the Independent Concert Agent"

6. Laure Schnapper, "Bernard Ullman-Henri Herz: An Example of Financial and Artistic Partnership, 1846-1849"

7. Dana Gooley, "Franz Liszt: The Virtuoso as Strategist"

8. Simon McVeigh, "'An Audience for High-Class Music': The Musician as Entrepreneur in late Nineteenth-Century London"

IV. Women as Entrepreneurs

9. Tia DeNora, "Embodiment and Opportunity: Bodily Capital, Reputation and Social Difference in Beethoven's Vienna Partnership"

10. Paula Gillett, "Entrepreneurial Women Musicians in Britain: 1790s to the early 1900s"

11. Jann Pasler, "Countess Greffulhe as Entrepreneur: Negotiating Class, Gender, and Nation"

Index

Contributors