opus clavicembalisticum

[nw746]

I don't get what's the big deal he's dead so how can you illegally get his music?

copyright law includes a period after the death of the creator so their descendants/beneficiaries can still make money off their work before it passes into the public domain.... usually 70 years.

Personally I feel like those descendants or whatever should just write their own music instead of profiting off of something they didn't do, but I don't think that view is going to find much favour for as long as entertainment and media companies spend billions lobbying governments for stricter intellectual property laws, lol

[mjames]

this is where I have conflicting views with the law -.-

true, no one should suffer the pain of wasting money on sorabji

[klavieronin]

Personally I feel like those descendants or whatever should just write their own music instead of profiting off of something they didn't do, but I don't think that view is going to find much favour for as long as entertainment and media companies spend billions lobbying governments for stricter intellectual property laws, lol

By that logic, when someone dies all their property and assets should be distributed among the public. After all, that persons children wouldn't have bought the house they live in, or earned the money in their superannuation fund.

If I were earning royalties for anything and had children, you better believe I would want them to benefit from my work after I die. And I would be mortified if anyone tried to steal that from them.

How about this for an idea? If you like something, then you should buy it. If you don't think it's worth the money, then don't buy it and move on. But don't complain because it isn't free. You complain about descendants profiting from something they didn't do but, believe it or not, that is exactly what you are asking for for yourself. You want to profit by not having to pay for the things that you want.

(Sorry about the rant. As you can probably tell, intellectual property laws are something are feel very strongly about.)

[ahinton]

copyright law includes a period after the death of the creator so their descendants/beneficiaries can still make money off their work before it passes into the public domain.... usually 70 years.

Personally I feel like those descendants or whatever should just write their own music instead of profiting off of something they didn't do

Some of us do, nw746, some of us do!

Best,

Alistair

[ahinton]

true, no one should suffer the pain of wasting money on sorabji

Indeed. But people who acquire Sorabji scores do so because they want them, so no "wasting" of money is involved.

Best,

Alistair

[ahinton]

By that logic, when someone dies all their property and assets should be distributed among the public. After all, that persons children wouldn't have bought the house they live in, or earned the money in their superannuation fund.

If I were earning royalties for anything and had children, you better believe I would want them to benefit from my work after I die. And I would be mortified if anyone tried to steal that from them.

How about this for an idea? If you like something, then you should buy it. If you don't think it's worth the money, then don't buy it and move on. But don't complain because it isn't free. You complain about descendants profiting from something they didn't do but, believe it or not, that is exactly what you are asking for for yourself. You want to profit by not having to pay for the things that you want.

(Sorry about the rant. As you can probably tell, intellectual property laws are something are feel very strongly about.)

There are some cases where composers' legacies would not be possible to do anything about unless someone had done something to make their works available; not every composer dies having had all his/her works published. Sorabji is a case in point; people would not be able to obtain his scores had they not been made available - and that was no trivial task. Furthermore, no one would have been able to make typeset editions of them if they were unavailable; a fair proportion of Sorabji's are now typeset.

Best,

Alistair

[klavieronin]

There are some cases where composer's legacies would not be possiuble to do anything about unless someone had done something to make their works available; not every copmposer dies having had all his/her works published. Sorabji is a case in point; people would not be able to obtain his scores had they not been made available - and that was no trivial task. Furthermore, no one would have been able to make typeset editions of them if they were unavailable; a fair proportion of Sorabji's are now typeset.

Best,

Alistair

Well, yes. Obviously things get a little more complicated in a case like Sorabji's. Did he leave any directions relating to his music in a will?

[ahinton]

Well, yes. Obviously things get a little more complicated in a case like Sorabji's. Did he leave any directions relating to his music in a will?

Plans for its fate were already laid during his lifetime. We discussed the setting up of an archive whose principal task would be to make master copies of all his known scores and literary writings, to make these available and to encourage editors to make clear edited copies of the scores (most of which are in typeset form). But there are plenty of other composers whose works are/were not all published an in print at the time of their deaths, so something has to be done in order to rectify that state of affairs; the suggestion that copyright owners of deceased composers' works all rake in funds for doing nothing is therefore far from the whole story.

Best,

Alistair

[klavieronin]

…the suggestion that copyright owners of deceased composers' works all rake in funds for doing nothing is therefore far from the whole story.

Exactly! And that's just one more reason why copyright is so important for the arts.

[musicforever60]

Time to set aside old stigmas and embrace the possibility that OC has not been handled with utmost care in the past? 3 new recordings:

[ahinton]

Time to set aside old stigmas and embrace the possibility that OC has not been handled with utmost care in the past? 3 new recordings:

With so very many things than can be less than perfect in anyone's hands, it is also important not to over-estimate one's reasonble expectations but yes, it's good that there are now others out there. Lukas Huisman, for example, has a number of extracts from the work, also on YouTube. Of the two dozen or so complete performances that it has received, almost half have been given by Jonathan Powell who, as and when time permits, is supervising and personally contributing extensively to a new typeset corrected edition of the score which is in dire need given the errors in the published one; when it's ready (and no, I don't yet know when that might be), it will be added to The Sorabji Archive catalogue..

Best,

Alistair

[musicforever60]

As a minimum requirement, note accuracy is the highest in existence, ranging from an estimated 95 - 99.9%. Then, comes musical accessibility evident through unparalleled clarity, tonal precision, tension alignment, high degree of nuance, stability, confidence, and originality in interpretation. Working through the remaining fugues and interludes, but all recordings of movements are extremely promising so far. (link below is a playlist, hover over the top right edge of the video)