by José Valentino Ruiz, Ph.D.

Abstract

This editorial explores the entrepreneurial spirit of classical composers, illustrating how figures like Beethoven, Mozart, and Liszt were not only musical innovators but also business strategists who shaped the industry through financial independence, audience engagement, and adaptability. By tracing the etymology of entrepreneurship—rooted in the idea of igniting and bringing something to life—we uncover how these composers laid the foundation for modern music business practices. Their ability to pivot, market themselves, and sustain their careers despite challenges offers valuable lessons for today’s artists navigating an evolving industry.

Keywords: Entrepreneurship, classical composers, music industry, innovation, audience engagement, financial independence, adaptability

The Origin of the Word

The word entrepreneurship carries with it a weight of ambition, creativity, and resilience. But where does it come from? The term derives from the French word “entrepreneur,” which in turn stems from the Latin “emprendere”—to undertake, to take action. Even more fascinating, in Spanish, “empresario” refers to someone who organizes performances, businesses, or artistic endeavors. But at its very core, the word shares roots with “prender”—to ignite, to set aflame, to spark something into existence.

To be an entrepreneur, then, is not just to conduct business, but to bring something to life—to illuminate an idea and make it real. This definition aligns beautifully with the role of classical composers, who were far more than musicians. They were cultural entrepreneurs, innovators, and risk-takers, who not only created new artistic visions but also found ways to sustain, market, and expand their work despite financial and social constraints.

Today, when we think about music entrepreneurship, we often look to the digital age—the independent artists who leverage streaming platforms, branding, and social media to reach global audiences. But long before the existence of record labels, streaming, or TikTok, Classical composers were already embodying the entrepreneurial spirit—navigating financial independence, audience engagement, adaptability, and branding with remarkable foresight.

So how exactly did these composers ignite the fire of their craft while ensuring their music would reach beyond their immediate time?

Composers as Business Innovators

Beethoven and the Pursuit of Independence

Ludwig van Beethoven is often remembered for his symphonies, but he was also a pioneering figure in financial and creative independence. Unlike many composers before him, Beethoven refused to rely solely on aristocratic patronage. Instead, he sought out multiple revenue streams—selling compositions to publishers, organizing his own concerts, and directly engaging with the public.

One of his most notable business strategies was diversifying his income. Rather than signing an exclusive deal with one patron or publisher, Beethoven negotiated with multiple music publishers to drive up demand for his works, ensuring he got the best possible payment. His self-managed concerts were akin to today’s crowdfunding or independent tours, allowing him to control his artistic direction and profits. This idea—that artists should own and control their work—resonates today. Whether it’s musicians fighting for fair streaming royalties or artists leveraging platforms like Patreon to support their craft, Beethoven’s entrepreneurial spirit set a precedent for financial autonomy in the arts.

Mozart: Innovating for Market Appeal

Wolfgang Amadeus Mozart, in contrast, was a composer who keenly understood audience engagement. While he initially worked within the aristocratic patronage system, he later turned to public concerts, subscription-based performances, and opera as a commercial art form. One of his most striking entrepreneurial moves was composing The Magic Flute, a German-language opera designed for middle-class audiences, rather than the elite Italian operas that dominated the scene. This was an early example of market segmentation—Mozart identified an audience that wasn’t being catered to and provided a product (his opera) that fit their needs. Modern parallels abound. Just as Mozart expanded classical music’s accessibility, today’s musicians use genre blending, targeted marketing, and new performance formats to reach wider audiences. The lesson? Understanding your audience and adapting to their needs is crucial for sustainability.

Liszt: The Art of Personal Branding

Franz Liszt wasn’t just a composer—he was a master of personal branding and fan engagement. Before the concept of celebrity culture existed as we know it, Liszt crafted an image that captivated audiences. He understood that performance was not just about the music but about the experience. He played his piano standing up (unheard of at the time), incorporated dramatic gestures, and even created a sense of exclusivity and mystique around his concerts. The result? Lisztomania—a phenomenon in which audiences, particularly women, became utterly obsessed with him, screaming at performances, scrambling for souvenirs, and swooning at the sight of him. His use of portraiture, media coverage, and carefully curated performances foreshadowed what we see today with social media-driven artist branding. If Beethoven was a pioneer of financial independence, Liszt was a pioneer of artist-driven marketing and fan engagement.

Adaptability: A Key Entrepreneurial Trait

The ability to pivot in response to shifting cultural, economic, and artistic landscapes has long been a hallmark of successful composers. Whether through reimagining their musical styles, rebranding their public image, or seizing unexpected opportunities, these musicians understood that sustainability in the arts depends as much on strategic flexibility as on artistic excellence.

Handel and the Art of the Pivot

Few composers exemplify adaptability like George Frideric Handel. When Italian opera fell out of favor in England, Handel did not lament the decline—he adapted. Recognizing the rising demand for English-language oratorios, he shifted his creative focus to this genre, which was not only more financially viable but also more accessible to audiences beyond aristocratic circles. By making this transition, Handel ensured his continued success and broadened the impact of his music.

But Handel’s adaptability was not just artistic—it was entrepreneurial. He pioneered the practice of selling advance tickets to performances, strategically partnered with influential figures to bolster his reputation, and continuously rebranded his work to maintain public interest. His career is a testament to the idea that creativity in music is not just about innovation in sound but also about the ability to navigate and reshape an evolving industry.

Barbara Strozzi and the Business of Self-Publishing

While male composers of the Baroque era had the advantage of institutional patronage and church commissions, Barbara Strozzi faced a different reality. As a woman in 17th-century Venice, she was largely excluded from the formal networks that sustained many of her male contemporaries. Rather than accept these limitations, she redefined the way composers could sustain themselves—by becoming an independent publisher of her own works.

Strozzi’s decision to self-publish was groundbreaking. It allowed her to maintain artistic control, dictate the terms of her music’s distribution, and secure financial stability without relying on the approval of gatekeeping institutions. In this sense, her entrepreneurial approach mirrors the strategies of modern independent musicians who bypass traditional record labels, leveraging platforms like Bandcamp, Patreon, and direct-to-fan engagement to sustain their careers.

Moreover, Strozzi recognized the power of niche marketing. She focused on secular vocal music—a genre that provided more creative freedom than sacred compositions—and built a dedicated audience for her work. Her career challenges the assumption that entrepreneurship in classical music is a modern phenomenon; in reality, it has always been a tool for those seeking autonomy and artistic agency.

Ethel Smyth and the Intersection of Music and Activism

For 19th-century composer Ethel Smyth, adaptability was not just about finding new musical markets—it was about forging new pathways for artistic and social impact. As one of the few prominent female composers of her time, she encountered persistent resistance in the male-dominated world of classical music. Rather than retreat in the face of rejection, Smyth expanded her influence beyond composition, aligning herself with the British suffragette movement and using her work as a platform for activism.

When orchestras refused to perform her compositions, she took matters into her own hands, conducting and organizing performances herself. Her entrepreneurial spirit was not just about sustaining her career but about reshaping the cultural landscape to be more inclusive. This mirrors the approach of contemporary musicians who blend artistry with advocacy, using their platforms to push for systemic change while cultivating new audiences in the process.

Adaptability as a Path to Longevity

Handel, Strozzi, and Smyth each embody a different aspect of adaptability, yet their stories converge on a single truth: sustaining a career in music requires reinvention. Whether shifting from opera to oratorio, self-publishing in an exclusionary industry, or leveraging activism to expand influence, these composers demonstrated that innovation is not just about breaking new artistic ground but about knowing when and how to transform challenges into opportunities.

Their legacy is a reminder that in both historical and contemporary contexts, the most successful artists are not simply those with extraordinary talent, but those who recognize that adaptability is an entrepreneurial skill as vital as composition itself.

Beyond the Notes: What We Overlooked

While much has been said about the entrepreneurial ingenuity of Western classical composers, there remain broader questions that complicate the narrative. One of the most significant is the enduring role of patronage in sustaining classical music. The idea that composers like Beethoven and Mozart freed themselves from aristocratic sponsorship is compelling, but the reality is that classical music has never fully detached from financial benefactors. Today, composers and performers alike continue to rely on institutional grants, philanthropy, and government subsidies to sustain their work. Whether through corporate sponsorships, nonprofit arts organizations, or crowdfunding, the patronage model persists in a new form. The question is not whether artists should aim for total financial independence, but how they can balance artistic freedom with the realities of securing funding.

Another layer of complexity arises when considering the ethics of entrepreneurship in the arts. Innovation and adaptability are crucial for longevity, but should all music be subjected to commercial imperatives? At what point does financial survival become a limitation rather than a tool for artistic growth? Historically, composers like Handel and Liszt navigated this balance with calculated risks—shifting their music to meet public tastes while maintaining their artistic credibility. But in a modern context, where digital algorithms and streaming platforms dictate visibility, the pressure to conform to market trends can be overwhelming. While entrepreneurship provides musicians with agency, it also poses the risk of diluting creative expression in favor of financial viability. This ongoing debate challenges the notion that business acumen and artistic integrity must always go hand in hand.

A final overlooked aspect of classical music entrepreneurship is its global dimension. The discussion often centers on European composers, yet entrepreneurial thinking in music is by no means exclusive to the Western Canon. Composers like Carlos Chávez in Mexico, Tan Dun in China, and Astor Piazzolla in Argentina did more than just compose; they redefined their musical landscapes by fusing local traditions with classical frameworks. Chávez used his influence to institutionalize Mexican classical music, Piazzolla revolutionized the tango into a global genre, and Tan Dun blended Eastern and Western sounds in ways that challenged traditional boundaries. These figures not only navigated financial and artistic survival but also expanded classical music beyond its Eurocentric roots. To talk about musical entrepreneurship without acknowledging these contributions would be to miss the full scope of how composers across the world have innovated, marketed, and sustained their art.

Ultimately, the study of musical entrepreneurship must extend beyond the individual success stories of composers and into a broader examination of the structures that continue to shape the industry. Financial models, ethical considerations, and global influences all play a role in how artists navigate their careers. Recognizing these nuances ensures that the conversation about entrepreneurship in classical music remains as dynamic and relevant as the art form itself.

Entrepreneurship as a Lifeline for Classical Music

As our discussion revealed, entrepreneurship in classical music is not new—it has always been essential for survival and success. The great composers were not just musicians; they were strategists, marketers, and innovators who understood the realities of their industry.

Today, classical music’s sustainability depends on reigniting that entrepreneurial fire. Whether through digital engagement, genre crossovers, immersive performances, or financial independence, the same lessons that allowed composers like Beethoven, Mozart, Liszt, and Handel to thrive still apply today.

And if history has taught us anything, it’s that music will always find a way forward—as long as there are artists willing to ignite the fire.