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The familiar old world of classical music, with its wealthy donors and ornate concert halls, is changing. The patronage of a wealthy few is being replaced by that of corporations, leading to new unions of classical music and contemporary capitalism. In Composing Capital, Marianna Ritchey lays bare the appropriation of classical music by the current neoliberal regime, arguing that artists, critics, and institutions have aligned themselves—and, by extension, classical music itself—with free-market ideology. More specifically, she demonstrates how classical music has lent its cachet to marketing schemes, tech firm-sponsored performances, and global corporate partnerships. As Ritchey shows, the neoliberalization of classical music has put music at the service of contemporary capitalism, blurring the line between creativity and entrepreneurship, and challenging us to imagine how a noncommodified musical practice might be possible in today’s world.

Introduction: Music and Neoliberalism ONE Innovating Classical Music TWO “Indie” Individualism THREE Opera and/as Gentrification FOUR Intel Beethoven: The New Spirit of Classical Music Conclusion: Music against Capitalism Acknowledgments Notes Bibliography Index

Marianna Ritchey is assistant professor of music history at the University of Massachusetts, Amherst.

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