[78-L] Smallest Transcription Disc?

[Jeff Sultanof]

Good point, but just because someone might have become an ASCAP member
doesn't negate that some of his music is represented by a performance
organization other than ASCAP, particularly if he was European (and I must
stress, at that time). I'm not an expert, but I believe that Breitkopf was
still represented by SESAC. I know that some of the French companies such as
Salabert and Max Eschig were still covered by SESAC into the sixties.

It just means that he was getting money from SESAC as well as ASCAP.

Jeff Sultanof

On Thu, Aug 5, 2010 at 11:02 PM, David Lennick <dlennick at sympatico.ca>wrote:

>
> Two of these works dated from the 1930s, the Concert Overture from 1957.
> Rozsa had been a US resident for 17 years by that time. Hard to believe he
> wasn't getting paid for them when he recorded them for Decca, and the Varese
> reissue credits SESAC. (Wouldn't you think Miklos would have joined ASCAP
> long ago? Even if every note on this album was stolen from Kodaly, Dohnanyi
> and just to show there were no hard feelings, Hindemith.)
>
> dl
>
>