Marxsen, Eduard. (1806-1887). Autograph Letter Signed to C. F. Peters. ALS of the Hamburg-based composer, best known as the teacher of Johannes Brahms, to the publisher C[arl] F[riedrich] Peters (1779-1827) in Leipzig, with some interesting observations concerning copyright in the early nineteenth century. In German. Hamburg, December 5, 1836. 3 pp.; addresses of sender and recipient on fourth page together with note, "Attached is a package wrapped in yellow custom canvas ://: C.F.P ://: and containing manuscript sheet music."
"It is a special pleasure for me that I have been able to make an arrangement enabling me to send you the attached desired manuscripts today already. I myself proofread them with the greatest diligence, thus eliminating the need of a correction rehearsal when the works are performed. I hope that you will be satisfied with the execution of your order in every respect, and I ask you to let the Philharmonic Society of St. Petersburg know that it was a pleasure for me to fulfill your request and that I would be highly pleased if it regarded its project supported in some way only by this—but at the same would also like to be told on request and to learn when the time comes how my works have been received and what the local arbiters of the arts approximately published about them... You decline to publish Adelaide [Beethoven's song in Marxsen's orchestral arrangement] because, in your opinion, only the owner of the original has to right to do this. Permit me to answer the following: After [Ignaz von] Seyfried in Vienna had reviewed this work of mine in no. 15 of Neue Zeitschrift für Musik of this February, I contacted him immediately with a double question: who is the owner of the original and would I have to come to an agreement with him about of the publication of my arrangement? Seyfried's answer to this may be quoted verbatim here:
'Adelaide by Beethoven with piano accompaniment is and was the property of Artaria et Comp here [in Vienna], but the work has been re-engraved so many times and, in addition, dates back to an earlier time so that it can be called public domain now. In any case, you can have your arrangement with orchestral accompaniment published wherever you like, and it is my firm belief that it will be a very pleasant gift to the musical public.'..."
The letter is expressly addressed to "Herrn C. F. Peters Wohlgeboren" (His Excellency Mr. C. F. Peters). It appears that Marxsen was not aware of the fact that Peters had died in 1827, as the company still bore his name. Peters (or whoever was responsible for the publisher's correspondence after his death) obviously advocated relatively modern views on copyright, while Marxsen and his former teacher in Vienna, Ignaz von Seyfried (1776-1841), still held earlier views. Brahms continued to hold his teacher in high esteem, as demonstrated by the dedication of his Second Piano Concerto in B-flat major, op. 83 (1881), to Marxsen. Browned and somewhat brittle; hole to second sheet. 10.25 x 9 inches (26 x 22.5 cm).
Marxsen, Eduard. (1806-1887). Autograph Letter Signed to C. F. Peters. ALS of the Hamburg-based composer, best known as the teacher of Johannes Brahms, to the publisher C[arl] F[riedrich] Peters (1779-1827) in Leipzig, with some interesting observations concerning copyright in the early nineteenth century. In German. Hamburg, December 5, 1836. 3 pp.; addresses of sender and recipient on fourth page together with note, "Attached is a package wrapped in yellow custom canvas ://: C.F.P ://: and containing manuscript sheet music."
"It is a special pleasure for me that I have been able to make an arrangement enabling me to send you the attached desired manuscripts today already. I myself proofread them with the greatest diligence, thus eliminating the need of a correction rehearsal when the works are performed. I hope that you will be satisfied with the execution of your order in every respect, and I ask you to let the Philharmonic Society of St. Petersburg know that it was a pleasure for me to fulfill your request and that I would be highly pleased if it regarded its project supported in some way only by this—but at the same would also like to be told on request and to learn when the time comes how my works have been received and what the local arbiters of the arts approximately published about them... You decline to publish Adelaide [Beethoven's song in Marxsen's orchestral arrangement] because, in your opinion, only the owner of the original has to right to do this. Permit me to answer the following: After [Ignaz von] Seyfried in Vienna had reviewed this work of mine in no. 15 of Neue Zeitschrift für Musik of this February, I contacted him immediately with a double question: who is the owner of the original and would I have to come to an agreement with him about of the publication of my arrangement? Seyfried's answer to this may be quoted verbatim here:
'Adelaide by Beethoven with piano accompaniment is and was the property of Artaria et Comp here [in Vienna], but the work has been re-engraved so many times and, in addition, dates back to an earlier time so that it can be called public domain now. In any case, you can have your arrangement with orchestral accompaniment published wherever you like, and it is my firm belief that it will be a very pleasant gift to the musical public.'..."
The letter is expressly addressed to "Herrn C. F. Peters Wohlgeboren" (His Excellency Mr. C. F. Peters). It appears that Marxsen was not aware of the fact that Peters had died in 1827, as the company still bore his name. Peters (or whoever was responsible for the publisher's correspondence after his death) obviously advocated relatively modern views on copyright, while Marxsen and his former teacher in Vienna, Ignaz von Seyfried (1776-1841), still held earlier views. Brahms continued to hold his teacher in high esteem, as demonstrated by the dedication of his Second Piano Concerto in B-flat major, op. 83 (1881), to Marxsen. Browned and somewhat brittle; hole to second sheet. 10.25 x 9 inches (26 x 22.5 cm).