The same copyright law applies to a symphony as to a pop song – your work is protected automatically from creation, and you hold the same bundle of exclusive rights. But the way those rights are managed and exploited in classical and concert music differs in several practical respects.
Commissions and ownership. Classical and concert composers frequently write works on commission, whether from orchestras, festivals, ensembles, broadcasters or arts organisations. The terms of the commission contract determine who owns the copyright. Some commissioners require an assignment of rights; others license specific uses while leaving ownership with the composer. Read commission agreements carefully – if you assign your copyright, you lose control over future uses of the work. Where possible, retain ownership and grant the commissioner a licence for the agreed performances or recordings.
Arrangements and new editions. A new arrangement or orchestration of an existing work can attract copyright protection, but only if it involves sufficient original creative input. PRS assesses this on a case-by-case basis – a straightforward piano reduction of an orchestral work is unlikely to qualify, but a creative reharmonisation or substantial reworking would. If you arrange a public domain work, you own the copyright in your arrangement (though not in the underlying composition). If you arrange a work still in copyright, you need the original composer’s permission. When registering an arrangement with PRS, clearly identify it as such and document your creative contributions.
Performance rights and grand rights. Concert performances generate performing rights income collected by PRS, just as live pop performances do. However, dramatic musical works – operas, musicals and ballet scores – are typically subject to “grand rights”, which are licensed directly between the rights holder and the venue or production company, rather than through PRS blanket licences. Grand rights licensing usually involves individual negotiation and higher fees reflecting the scale and nature of the production.
Printed scores. Sheet music and score hire remain a more significant income source for classical composers than for most songwriters. If you have a publisher, they typically handle print licensing. If you self-publish, you control the terms directly – including digital distribution through platforms that sell or rent scores online.
