He subsequently received an annual pay of 800 florins, with the title of Kapellmeister in the service of the Emperor. At his death, he left a debt of 3,000 florins. The copyright of 'La Clemenza di Tito' was offered to Breitkopf, in Leipzig, for sixteen ducats. Breitkopf having declined the opera, it was bought by his apprentice, A. Boehme, who with it laid the foundation of his prosperous publishing-house in Hamburg. It must be admitted that among our modern composers several very practical men could be pointed out. Some, who are the offspring of rich bankers, may have inherited business-like habits in a natural course; this appears all the more probable since they belong to a race which is known to possess extraordinary talent for money-making. It has long been a favourite project with distinguished musicians on the continent to visit England, to be there extremely practical, in order to accumulate as much money as they could in the shortest time possible, and then to retire to the fatherland to be happy ever after. Possibly the rumour concerning Handel's property, and his bequests, to which also Mattheson alludes in his annotations to the 'Memoirs of the Life of Handel,'[36] may have contributed to entice other continental musicians to try to make their fortune in England; and many have shown common sense enough in this attempt. Handel in London generally received for the copyright of an oratorio twenty guineas. The wealthy publisher, Walsh, gained L1500 by the publication of the opera 'Rinaldo,' a fact which elicited from Handel the remark: "My dear sir, it is only right that we should be upon an equal footing; _you_ shall compose the next opera, and _I_ will sell it." At any rate, so the story goes. Handel, after having lost, by his enterprise as manager of the Haymarket Theatre, all the money he had gained during a residence in England of about twenty-four years, which amounted to about L10,000, commenced anew, exerting himself as a practical man in another and more successful way. Handel died "worth" upwards of twenty thousand pounds. Music-printing in the eighteenth century was not in the flourishing state which it has now attained. The composers had other sources of profit besides the sale of their manuscripts,--such as public performances, dedications of works to wealthy patrons of the art, or by having an appointment, with a fixed salary, in the service of a sovereign. To judge correctly of the capacity for business of a distinguished musician, it is necessary to take into consideration the usages of his time. Haydn, on his first visit to London, in 1791, was engaged by Salomon for L500, for which sum he had to compose six symphonies, and personally to direct the performance of them at the concerts; and to resign the copyright of those six symphonies. Furthermore, L200 were guaranteed to him by Salomon for a benefit concert.