# Primary Sources on Copyright - Record Viewer
Supreme Court on Music Copyright, Madrid (1877)

Source: Archivo del Tribunal Supremo; Id. Cendoj: 28079120011877100068

Citation:
Supreme Court on Music Copyright, Madrid (1877), Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org

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            Chapter 1 Page 2 of 7 total



      on literary property between Spain and France.
      Later on, Mr Emilio Vives published and Mr Juan
      Budó printed some rigadoons that he had arranged
      for the piano based on the comic operetta “Las cien doncellas”.
      Besides the fact that it belonged to the author,
      the aforementioned Vives, and that the front cover
      referido Vives, y su precio el de dos pesetas; con cu-
      stated it cost two pesetas. For this reason, on
      19 May 1873, Mr Andres Vidal lodged a formal complaint
      and the case was admitted and that experts declared
      that the opera “Las cien doncellas” did not include
      any rigadoons, nor that it met the conditions for
      this dance. They were based on melodies from the
      above-mentioned opera. The themes were not in the
      the same order but jumbled and altered in sucession;
      parts of the rigadoons were compensated with themes
      from the opera. Some of them appear to be the same,
      although some fragments were found to have a different
      rythm, harmony, tempo or movement, tone, beat,
      accompaniment and base;
      
      
            Whereas the Criminal Chamber of
      the High Court of Barcelona decided

    


      dad literaria con Francia y posteriormente Don Emi-
      lio Vives publicó y fueron gravados por Don Juan
      Budó unos rigodones arreglados para piano sobre
      motivos de la zarzuela bufa, “Las cien doncellas”
      espresándose en la portada, además de estas circuns-
      tancias las de que la propiedad era de su autor el
      referido Vives, y su precio el de dos pesetas; con cu-
      yo motivo Don Andres Vidal en diez y nueve de
      Mayo de mil ochocientos setenta y tres dedujo quere-
      lla y sustanciada la correspondiente causa, declara-
      ron en ella peritos, que la ópera “Las cien doncellas”
      no tiene ninguna pieza que sea rigodones, ni que
      reuna todas las condiciones de ese baile, que los de
      que se trata fueron basados sobre melodías de dicha
      ópera, hallándose en aquellos motivos de esta
      no por el orden que guardan en la misma, sino
      saltados y alterados en su sucesión; y que compensa-
      das las partes de los rigodones con los motivos de la
      ópera, existe al parecer igualdad en algunos, aun-
      que contados fragmentos, observándose en los demás
      diferencias en ritmo, armonía, tiempo ó movimiento,
      tono, compás, acompañamiento y bajo;
      
            Resultando que la Sala de lo criminal de la
      Audiencia de Barcelona por sentencia de treinta y

    

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Primary Sources on Copyright (1450-1900) is co-published by Faculty of Law, University of Cambridge, 10 West Road, Cambridge CB3 9DZ, UK and CREATe, School of Law, University of Glasgow, 10 The Square, Glasgow G12 8QQ, UK