ABSTRACT
This chapter examines that relationship by assessing the strengths and weaknesses of various publishing arrangements in which copyrights were owned variously by composers, publishers, or third parties. It uses Clementi as an example of a composer whose financial benefits from publishing were initially small, but who, like others, entered the music trade himself, eventually making a substantial profit from his business enterprise. The chapter also examines international publishing arrangements, showing how copyrights were bought and sold in an environment in which no formal international copyright agreements existed. Despite the healthy environment in which the music publishing industry operated from the 1770s to c.1830, it proved to be a period in which the composers often lost out financially to the publishers, whatever publishing and copyright models they used. The chapter explains relationships between composers and publishers developed in new ways, as the market for music in Britain expanded and became ever more international in its scope.
