marketing music (or not)

Jonathan D. Kramer, Postmodern Music, Postmodern Listening (Bloomsbury, 2016), chapter 10.8:

"...When Beethoven put on concerts for his own financial benefit, he was marketing his wares. Paganini and Liszt cultivated public personae of considerable magnetism, in an effort to draw attention to their product -- that is, their spectacular compositions as they themselves flamboyantly played them. Were they selling out when they composed music with an eye toward the marketplace? Or is selling out a particularly modernist idea? Schoenberg refused to sell out. He did not try to market his wares. His Society for Private Performance was created to avoid all influence of commodification. At that stage in his life, he wanted his music to be heard only by those who were likely to be interested in it and sympathetic to it. He was not trying to convert outsiders to it; rather he was willing to welcome into his circle those who were ready to enjoy and appreciate his music and that by his colleagues. He decidedly did not want to use showmanship to attract large audiences. He preferred small audiences of true appreciators to huge unwashed masses..."