# The best classical music patron



## jurianbai (Nov 23, 2008)

Ok, the "best" on the title is a bait for you to come and read. We all talks about the best composer around, forgetting the man who PAID for it.

Discussion, who you think significan patron of classical music, that enable the world to have the music by spending money on it... or even more as the source of inspiration (was there any???)

I think of the *Esterhazy* house of Haydn era. Anton Esterhazy was responsible for many of Haydn outputs, including his SQ.


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## Meaghan (Jul 31, 2010)

Yes, Haydn composed prolifically for the Esterhazys, and it was a very nice gig indeed. He wrote some obscure stuff for them, too--a bunch of opera seria nobody performs nowadays (at least I think those were for the Esterhazys) and numerous baryton trios (http://en.wikipedia.org/wiki/Baryton) for his prince to play with his chamber music buddies.


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## Couchie (Dec 9, 2010)

King Ludwig II of Bavaria! If it weren't for him, we'd be calling the _Ring_ Wagner's 'unfinished masterpiece' and poor Brunnhilde would have probably been left asleep for eternity.


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## elgar's ghost (Aug 8, 2010)

The country of Finland - for awarding Sibelius a state pension for life as early as 1897 to help fund his career to the degree that he virtually became financially independent. Perhaps this is one reason why he felt little need to compose for the last 30 years of his life!


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## TxllxT (Mar 2, 2011)

Baron Gottfried van Swieten (Leiden, October 29, 1733 - Vienna, March 29, 1803), the Dutch uncle to Mozart, Haydn and a certain van Beethoven.


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## notesetter (Mar 31, 2011)

During the 20th century, Elizabeth Sprague Coolidge was an important American patron of music. She was most interested in chamber music, but supported other forms as well. The list of compositions she commissioned is impressive, including Bartok's 5th quartet, Prokofiev's 1st quartet, Poulenc's Flute sonata and Copland's Appalachian Spring.

Mrs. Coolidge formed close personal relationships with many composers and could be very direct when it came to her desires. Once, Paul Hindemith declined a commission, listing many excuses. His final statement was - "And then there's the matter of my fee, which would be $5000.00 and which you'd no doubt find excessive". Mrs. Coolidge simply dropped a check for $5000.00 into the mail and in due course received the completed score for "Konzertmusik for Harps and Brass".


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## Aramis (Mar 1, 2009)

N. von Meck - Tchaikovsky's partoness

Giulio Ricordi - guy who helped Puccini survive the pre-Manon Lescaut failures 

They were also among composers:

- Liszt (a lot more or less famous musicians/composers took financial support from him)
- Paganini (who ordered and paid for Berlioz's Harold)


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## HarpsichordConcerto (Jan 1, 2010)

Already mentioned above, Baron Gottfried van Swieten, whose taste in the music of his time and of the Baroque showed that he identified the best of his times and before. It was van Swieten who actively organised private concerts of the music of Bach and Handel introducing many pieces to Viennese upper classes, and even commissioned Mozart to "update" pieces of Handel's oratorios. He was a true patron in the correct sense of the word. Being the Imperial Librarian, he had the sensibility to provide Haydn with the texts for _The Creation_ and _The Seasons_. He commission CPE Bach to write the six _Hamburg Symphonies_.

As for Beethoven,
_The evening gatherings at Swieten's home had a marked effect on Beethoven, for it was here that he first became acquainted with the music of Handel and Bach. He generally had to stay long after the other guests had departed, for his elderly host was musically insatiable and would not let the young pianist go until he had 'blessed the evening' with several Bach fugues. _


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## Ukko (Jun 4, 2010)

Hilltroll72 of Talk Classical - who actually _buys_ CDs and DVDs of classical music.


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## Huilunsoittaja (Apr 6, 2010)

Mitrofan Belyayev! The greatest patron of classical music in Russia ever! He started his own Publishing company so that young Russian composers could make works for Russia, and not have to use European publishing companies. He also set up the "Russian Symphony Concerts" so that these new composers could get their music performed. And there were many more contributions, not to mention a "mafia-style" Board of Trustees that gave scholarships and publishing contracts to Russian composers. But only if they were acceptable to the jury. 

http://en.wikipedia.org/wiki/Mitrofan_Belyayev

You won't be surprised to see why I know so much if you read this article.


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## jurianbai (Nov 23, 2008)

King George II for patroned Handel's Messiah (?)


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## HarpsichordConcerto (Jan 1, 2010)

jurianbai said:


> King George II for patroned Handel's Messiah (?)


The English royal family since Handel's time has always been a patron and supporter of Handel, rather than any particular pieces of Handel's work. Queen Anne (1665-1714) was a royal pupil of Handel's and she awarded him a life pension of a few hundred pounds per annum (which was a lot of money in those days), unique in all Baroque. _Water Music_ (1717) to _Fireworks Music_ (1749) were all associated with the monarchy.

Even after Handel's death, the royals have always used his music for more than just mere entertainment.


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## Guest (Jul 4, 2011)

Paul Sacher

Betty Freeman


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## Sid James (Feb 7, 2009)

We have had quite a few here in Australia, especially in the post-WW2 years. One of the ones whose name I actually remember was *Ken Tribe *(1914-2010). His "day job" was in the legal industry (he set up his own law firm), but one of his big passions was music, particular chamber music. He was one of the main movers and shakers setting up Musica Viva in this country, to foster both local and international musicians playing chamber music here, especially live. Throughout his long life, he commissioned many works from Australia's finest composers. I went to a tribute concert after his death here last year, and many of these pieces were played, interspersed with some of his favourite old "classics." He was definitely a pivotal figure in Australian music of the past 60 years. The last piece he commissioned was Peter Sculthorpe's 18th string quartet, and I was listening to the live radio broadcast of that in May 2010, played by the Goldner String Quartet (one of Ken's favourite ensembles here) as part of the ISCM "World New Music Days" festival. During the concert it was mentioned that Ken was sick and unable to attend that day, but he was listening to the broadcast in bed. I only learned about him last year, he definitely didn't publicise his work more than necessary, he was a "quiet achiever." I think he'll be sorely missed, but there are others like him who are continuing the things that he started doing, supporting our great classical musicians in this country...


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