Hi Carolus. You and other users may have noticed that I've been frequently absent from IMSLP. I really wish I could continue to work on IMSLP, but I'm afraid that my current prognosis will force me to take a possibly permanent retirement. I know I have done very little as I've been around only for a few months, and I wish that I could have done more. I hope that you and the other wonderful copyright reviewers will one day finish the copyright project that I regret to admit I have not come close to finishing. I'm also sorry to say that I see little reason to retain my special rights as they will be of very little use from this time on. If anybody has any questions about US copyright law (although Carolus does knows much more than me), please feel free to ask. I will try my best to respond. Respectfully yours, Emery 23:57, 1 November 2011 (UTC)
Hi Emery, I'm really sorry to hear about your condition. I think I can speak for everyone when I tell you that you have helped an incredible amount with copyright. To have over 8000 CR tags (and an incredibly high "score") in only a couple of months is amazing. In addition, you wrote a really beautiful page about US copyright law. I think that few people could have done such a nice job with such an ambitious project. Your tenure here has - despite being short - been influential. I really hope you will be able to contribute again in the future. Thanks so much for your efforts. Best wishes, Lndlewis10 01:53, 3 November 2011 (UTC)
Hi Emery. Even though we never had a chance to talk much, I've heard a lot about your work from Carolus and the other admins. I'm very grateful for your contributions to IMSLP, and am very sorry to hear about your condition. Your work on IMSLP will always be remembered, and I hope your health improves soon! --Feldmahler 06:01, 5 November 2011 (UTC)
Hi Carolus. Are you confident that these two weren't originally written for piano? (as some marches by those composers seem to have been left in short score).
BTW, it's not a good idea just to delete part of the categorization tag, as we've then no way of knowing that it's incomplete. Thanks — P.davydov 06:47, 2 November 2011 (UTC)
|
This excellent composer...Died of a foot infection. |
Here's a random fact with a picture to go along with it! Enjoy! By the way...Thanks for all your excellent contributions to this site and to the world of music.
Hi Carolus -- Happy to hear that the server performance has improved noticeably. Even though the upgrade is mostly done, the next few days (most importantly next Monday and Tuesday) will tell us exactly how fast the server is, and whether there are any other issues with the new server.
By the way, did you get my e-mail last Saturday with the revised amendment? Just wanted to check. --Feldmahler 06:01, 5 November 2011 (UTC)
Dear Carolus, I've got only those few pages (photocopies) and the following (p.68 - Adagio, Hob.XVII:9). The most likely referring publisher information I found at worldcat. I hope I'm right. Regards, --Ralph Theo Misch 23:18, 5 November 2011 (UTC)
Dear Carolus, if this is really an edition by Cranz, then after 1932. Maybe a mixed edition by different composers. I don't think that it's a reprint of the Rieter-Biedermann edition - I've never seen so many fingerings there (at that time). Maybe the date and the editor (fingerings) are mantioned at the very beginning of the book? --Ralph Theo Misch 23:32, 9 November 2011 (UTC)
Oh, that will delight Her Majesty! I'll tell her when she deigned to stop her beauty sleep. :))) --Ralph Theo Misch 23:51, 9 November 2011 (UTC)
No, the greeting was from my royal masters and mistress (there are 3 royals here) to yours. We are but humble and obedient servants, obligated to serve - they barely acknowledge our existence. Hopefully, when your royal mistress awakes from her beauty sleep, the greetings from fellow aristocracy will be appreciated. :)) Carolus 01:40, 10 November 2011 (UTC)
RIght trustie and welbeloued, wee greete you well. Being giuen to vnderstand how greatly wee are delighted about svch kynd regards from the newe world! QVEENE LIN. I. and ONELY. --Ralph Theo Misch 23:38, 10 November 2011 (UTC)
I'm afraid this work should stay a few years in the US server, because of the librettist of its #2. − Pierre Ch. 20:35, 10 November 2011 (UTC)
Dear Carolus,
I was surprised to see Roussel's « Elpénor » deletetd from IMSLP as of May, 2011. I can only assume that this deletion was due the piece naming Joseph Weterings in its subtitle. However, no copyrighted material by Weterings whatsoever is used, as the music is purely instrumental. (It was apparently even written before Weterings wrote the « poème radiophonique » to which the music then was attributed as incidental music.) So my question is: If a piece is purely instrumental, and does not contain any material not original to the composer, but was published as incidental music to a text of a younger author – does then the 70-year rule apply in relation to the latter's date of death? If not, then Roussel's «Elpénor » would be in PD since 2008. Thanks in advance, and best regards, MilsteinRulez
Is something like this what you meant? Category:Traditional --Feldmahler 02:25, 11 November 2011 (UTC)
I worked too quickly... I ask for deletion of the misnumbered #151037 (Bortniansky_Kheruvimskaya_No.3.pdf), superseded by #151045. Thanks − Pierre Ch. 11:48, 14 November 2011 (UTC)
Dear Carolus, in this case the preface may be of some importance. Cheers --Ralph Theo Misch 00:06, 15 November 2011 (UTC) P.S.: Sir Caruso was here - genuine concern about his health...
Except for coyotes, everything is represented here. But that's not the problem. I asked a friend of mine (a veterinarian): He says that the minnesinger presumably overdramatises (hopefully) - a difficult folk... --Ralph Theo Misch 01:10, 16 November 2011 (UTC)
Hello Carolus
You may ave overlooked my questions in the discussion page of Gesualdo's Book 4. So I take the liberty to quote these questions:
I've been in doubt how to transfer Vincent Carpentier's complete edition of the 4th book. The full scores are just ordinary vocal scores and the separate parts unchanged extracts with lyrics from the engraving source files. The clefs of the separate parts, however, have been selected in order to adapt to recorder consorts; hence their names.
Actually I started with grouping full scores and separate parts, but changed to the current setup as sort of analogy with the viol transcriptions. --Reccmo 07:56, 15 November 2011 (UTC)
I submitted a score and parts for a Woodwind Quartet No.3 on the composer page Hedien, Mark. When I submitted it, I think I left a space between the period and the number (No. 3 instead of No.3) , which then resulted in this work being listed ahead of Quartets 1 and 2. I tried to fix it the title on the work page, but it didn't seem to change the listing on the main composer page. If there's anything you can do to fix that, it would be much appreciated.
Anyway, the work is mine, and the basic creative commons license is quite alright. Once again, thank you very much for your help, and I'm sorry if I'm being difficult.
--Mark Hedien
Dear Carolus, again cat tyranny. I'm not able to work under these conditions. Tomorrow I'll give more informations (regarding the preface).--Ralph Theo Misch 00:16, 17 November 2011 (UTC)
Yesterday, I was the hammock. Afterwards the preface...
I tried to translate some points from the preface for the discussion page (a shining hour of the English language :{ - feel free to make it more idiomatic):
- This edition is based on a set of six parts (located in Kassel, Germany), with the titles:
- According to the use of time and regarding the range of the parts, the editor has no doubts that these parts are genuine for recorders. Moreover F major is a typical recorder key.
- In accordance with the taste of the times, there are other possible instumentations,
particularly mixed scorings: strings and wind instruments (→'Violino ô Flauto').
- The continuo is (intentionally) realized as a chordal filling.
Cheers --Ralph Theo Misch 23:26, 17 November 2011 (UTC)
Hi Carolus! Are we sure this work is by Heinrich Wilhelm Ernst? It seems to be from a collection of works arranged by a Henri Ernst with this one work composed by the arranger himself. Was H.W. Ernst ever known as Henri Ernst? Also, it appears the copyright date is 1871. I think WB has used the gif files instead of the tif files so there's a noticeable loss of quality making that text largely unreadable. Thanks! --Cypressdome 05:30, 17 November 2011 (UTC)
It's 1870 (title page). Just uploaded an alternate file by using the tiffs. --Ralph Theo Misch 00:06, 18 November 2011 (UTC)
Hi Carolus! Could you please update the copyright tag on this work as the arranger of the vocal score lived to 1945 so not PD in the EU unless I'm missing something. Thanks! --Cypressdome 04:00, 18 November 2011 (UTC)
I think I should go to bed as I've just rendered Humperdinck's Was ihr wollt to be PD-US only. RTM had identified the translator as R.A. Schröder which corresponds to Rudolf Alexander Schröder who died in 1962. All I wanted to do was to fill in some plate numbers for Max Brockhaus. Thanks! --Cypressdome 04:23, 18 November 2011 (UTC)
Hi Carolus! At what point can we start uploading Bowen's works to the Canadian server as his works should be public domain there on 1/1/2012? Thanks! --Cypressdome 04:59, 22 November 2011 (UTC)
I would like to start the IMSLP Orchestra, and to have them make the world-premiere recording of the Symphony in C major by Franz Asplmayr. It would be like the YouTube Orchestra, except the players would not necessarily have to meet, and some players could play multiple instruments (e.g., a bassoonist could play both bassoon parts). These would all be synchronized by a mechanical playing of my figured bass realization; each player would listen to the continuo through headphones, which would hopefully not bleed into the recording of their playing. Later on a skilled harpsichordist could give a less mechanical performance that would be integrated into the finished recording.
I have made a recording (three files for the three movements) of the Garritan harpsichord in Finale. I suppose one could say that these are of high quality, though on the other hand their purpose would be temporary. What do you think would be the best way to go about this? Alonso del Arte 00:52, 23 November 2011 (UTC)
Hello Carolus
I'd like to see the works by Frederic Rzewski presented in chronological order like in his WIMA composer page. Is that possible? --Reccmo 12:54, 23 November 2011 (UTC)
Dear Carolus, perhaps this is a case for the US server. But it's not dated - google books and woldcat say 1922. The score only mentions the date of composition (at the end of each piece).
Moreover I've found Hans Gál's piano quartet op.13, CR Simrock 1922 (CS and parts). Thanks and cheers --Ralph Theo Misch 22:05, 23 November 2011 (UTC)
The Gal is certainly eligible for the USA server. I'm a little surprised our friends at Sibley don't already have this one. It will be a nice addition in any case, assuming their royal majesties permit. Carolus 03:54, 26 November 2011 (UTC)
Dear Carolus
In your on-page comments to the 13 suites by Michel Rondeau you say
There is a reason: when I took over the responsibility for WIMA back in 2001 (upon the sudden death of Werner Icking) many multiple movement WIMA compositions were already present as separate scores and separate sets of parts for each movement. The layout of the WIMA composer pages is adapted to that principle which was adhered to by many WIMA contributors, not only Michel Rondeau. So I'm afraid you'll see lots of future WIMA transfers uploaded in that form.
I do understand your frustration on WIMA compositions split into sometimes tiny bits. But that's how WIMA is arranged. I agree that it would be helpful for IMSLP users to have some of these bits assembled to larger score units. If you go into that activity please be sure to redirect the 'tiny bit' URLs to the URLSs of assembled scores such that WIMA redirections stay valid. --Reccmo 12:04, 27 November 2011 (UTC)
BTW - unfortunately your renaming of the suites to '13 Suites for String Ensemble' does not fit all the numbered suites. Some them are for other instrument types, for example flute and harp.
Hi! Is there a good template for those links for the archive.org concerts that would also put them (the Chicago concerts for example but others also - that derive from that source - in a category - as we now do for scores) in a category, or would a new one have to be created, like IArchRec ? Thanks - Eric 15:33, 27 November 2011 (UTC)
