Publishers Panel
Hosted by Mohammad Fairouz, I think this was intended for the composers, but we attended and learned a lot!
Fairouz prefaced the panel by sharing how his teacher, Gyorgy Ligeti, took Fairouz to Hamburg to experience Schott and introduce him to the world of publishing.
Hosted by Mohammad Fairouz, I think this was intended for the composers, but we attended and learned a lot!
Fairouz prefaced the panel by sharing how his teacher, Gyorgy Ligeti, took Fairouz to Hamburg to experience Schott and introduce him to the world of publishing.
- publishers need to see a compelling body of work with the potential for a long term future to consider taking on a composer
- publishers are there for business ($$$) not to give out handouts
- piracy has required publishers to be very selective and demanding because they are loosing revenue caused by piracy
- re: composer/publisher relationship
- composers still need to create their own "buzz"
- do your own legwork
- continue to self-promote
- publishers are necessary
- self-publishing will become impractical with composer success
- DIGITAL DISTRIBUTION
- digital music stand/E-Stand is not good yet, still impractical
- CSO played off e-stands "and it did not go well"
- Alfred and Hal Leonard have "lots of money for research and development"
- still forging ahead with the idea though many questions of when and how e-stands will come to fruition
- digital only distribution is risky; still need print distro
- What will still work in 100 years? Paper!
- publishing is not limber, they can't anticipate the size of the screen needed/desired in the future for long-term digital use
- A good editor/publisher = easy rehearsal
- page turns
- accidentals
- markings
- readability
- a good publisher goes unnoticed because everything runs smoothly; a bad publisher gets a lot of complaints from musicians
- Distributors
- get music into store
- Hal Leonard = exclusive print distributor for Associated
- Presser = associated with Carl Fischer allowing hand off of certain services
- Quality output of an edition has a real, measurable affect on the success and acceptance of a piece!
- "No one lives on royalties!"
- Composer revenue:
- day job (university faculty)
- commissions
- small royalties
- misc other earnings
- Music with preexisting text must have copyright approval for use
- don't create the work and assume the copyright will "be fine"
- High quality archival recording
- don't just possess it, be sure to reserve the rights to use it
- you can skirt the issues of use with a "limited use" clause to distinguish between use for distribution and use for performers, submissions, etc.
- Pedagogical texts/materials
- get famous!
- Jeanne Baxtressor submitted her excerpts with 30 years of markings and annotations from playing in the NYPhil, now her excerpt book is her "greatest income earner"
- create demand
- recognize demand/necessity
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