User talk:Carolus/archive34

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Silent Worship

Hi Carolus - Where should I post the sheet music for the song, Silent Worship ("Did you not hear my lady")? It consists of English lyrics by Arthur Somervell set to his piano arrangement of an aria from Handel (Non lo dirò col labbro, from the opera Tolomeo). It is not even remotely a translation of the Handel piece, but an entirely new text set to old music.

I could post it under Tolomeo, but, even there, I hope you will not ask me to list this song as Non lo dirò col labbro rather than Silent Worship; the latter is certainly the better-known work: Wikipedia. Thomas Allen. Gwyneth Paltrow and Ewan McGregor(?!) Thanks. Olmsted 02:31, 20 December 2011 (UTC)

This is a somewhat difficult case. I would recommend the file be uploaded as a composition entitled "Silent Worship" by Somervell (even though musically it is an arrangement and adaptation). Once this is done, it should be cross-referenced over on the page for Tolomeo, under the "Arrangements and Transcriptions" tab, using the original aria title "Non lo dirò col labbro". If you upload to Somervell, I can take care of the rest easily enough. Carolus 02:47, 20 December 2011 (UTC)
OK - Done. I didn't know where to indicate (on the Silent Worship page) that the music is actually by Handel, so I'll leave that to you as well. Thanks very much. Olmsted 03:36, 20 December 2011 (UTC)
New thought: Please see the discussion tab for Silent Worship. It seems strange to credit Somervell as composer when he himself credited Handel. Maybe create a page for the "Ten Songs" with Handel as composer and Somervell as arranger and librettist? LOC. That seems to have been Somervell's view. Olmsted 03:44, 20 December 2011 (UTC)
That's one possibility. Right now the rule is that we break up collections of works which were not put together by the composer, but I am wondering about a possible workaround to create a sub-category in order to allow for single-composer collections assembled by others (like Somervell's). In Handel's case, we would set up a subcategory called "Collections, G.F. Handel" would would appear as a single sub-categeory on Handel's workpage. Items like the "Ten Songs" arranged by Somervell could then appear within the sub-category (which keeps the Handel main category page from being cluttered up with collection titles but still allows a visitor to download the entire collection without visiting 10 different Handel work pages
Hi Carolus. What are your plans for the new Category:Collections? And what about the older Category:Compilations? Olmsted 03:21, 4 January 2012 (UTC)
I'm experimenting right now with 'Collections' and have set up one for Domenico Scarlatti, which appears as a sub-category on his main page. My thought right now is that a category like "Collections, George Frideric Handel" should include collections which consist of a) entirely Handel works and b) multi-composer collections which include items by Handel. This is how I've set up Domenico Scarlatti. It has the advantage of limiting the composer's main category page to works by that composer, with the option of adding in collections assembled by the composer or during the composer's lifetime with their approval, plus a few selected things that are so well-known as collections they would be missed in any listing of a composer's work. As for "compilations", that appears to be an old, somewhat obsolete category which probably should be moved to either "Various" or one of the new collections categories just mentioned. Carolus 03:31, 4 January 2012 (UTC)
Just jumping in here - re 'compilations', Carolus, that is actually a registered tag that is used for 'albums' or other collections where there really isn't another suitable tag that can be applied as such. This new 'collections' system will therefore have to take the tagging of works that fall under its purview into account - should they be tagged at all, do you think? Thanks, KGill talk email 03:37, 4 January 2012 (UTC)
Thanks for the info! I was not aware of that. I think they should not be tagged since tagging the original works should theoretically cover everything eventually. For example, under Domenico Scarlatti we had all the sonatas as two multi-volume sets ordered according to either Longo or Kirkpatrick. Scarlatti never complied the sonatas this way - these are both collections assembled long after his death. Right now, the Kirkpatrick volumes still appear under the main composer category while the older Longo collection has been moved to the new sub-category. The Kirkpatrick technically ought to be only in the sub-category as well, but I thought I'd keep them in the main category (also) for the time being just to see how it works out. Ultimately, I expect that all 550 of the sonatas should be there as individual works except for the ones published by the composer himself as a group. If these items are all tagged, there would be no need to tag all the volumes assembled by Longo and Kirkpatrick as well, would there? Carolus 03:52, 4 January 2012 (UTC)
Interesting point - so you're saying there would actually be duplication of scores with this 'collections' structure, then? If that is the case, then I guess the collection page shouldn't be a 'real' work page (no fte:imslppage?) - and then there can be crossrefs between it and every single member page. That would be the only way we could get away from really separating them from the tags/other trappings of 'normal' workpages, I guess, since there should be tags for each page that contains unique files for a work. This also implies that all the collections will be split up and resubmitted to individual work pages so they can appear in two places, which would be quite a lot of effort...is this all in the works? Thanks, KGill talk email 04:07, 4 January 2012 (UTC)
Yes, there would certainly be duplication. However, the situation which increasingly arises is that someone has a scan of a well-known single-composer collection, like Beethoven's Piano Sonatas, but doesn't break them up into the 32 files to go onto the individual sonata pages. Instead of deleting the upload and telling the user to break up the collection (which can be pretty time-consuming in some cases), wouldn't be it better to have the option of a sub-category page called 'Complete Piano Sonatas' (Collections, Ludwig van Beethoven) where the item could be made available as originally issued in 2 or 3 volumes? Of course it could be later split up and added to the individual sonata pages - at least for the more important editions - but that could be done later by another person altogether. Sometimes it is also quite helpful to have the actual complete volumes available - as with the volumes of the BGA. At any rate, that was my thinking here. It might be a way in which we can have the advantages of collections without the disadvantages such as were encountered last year when the Bach cantatas had to be split up into pages for all of the individual cantatas. The complete BGA volumes could appear on a single workpage under the sub-category only. That way, someone would only have to download 47 items instead of the literally hundreds they would now to acquire the complete BGA from IMSLP. That said, I'm wondering about all the tagging and category-walker ramifications of all this, which is why I am going very very slowly. Carolus 04:27, 4 January 2012 (UTC)

Midi Files, and miscellaneous

1. I uploaded succesfully two midi files in the new Josquin page A l'eure que je vous, but they are refused in the just as new page Vive le Roy. The first message I get is: already uploaded, which was not a fact,as the pdf-files were uploaded only, and afterwards I get the message on performer and performer category, though I clicked the midi file button in "Performances". I marked them both as WIMAProject. What did I do wrong? 2. A l'eure que ie vous should be alphabeticised on A and not on the article l', though à is a preposition. It has been done so in all work lists of Josquin. Can you correct this? 3. I asked some questions on my own user page without getting answer. I am really concerned about the last two questions. Can you help me? Arnold den Teuling

Scores from www.baroquemusic.it

Hi Carolus, I uploaded the following score from the above site: File:PMLP108717-fasch sonata FaWV N d1 score.pdf . But the CC license is 'by-nc-nd 3.0', which was not accepted in connection with a retypeset. I posted a corresponding question in the forums: http://imslpforums.org/viewtopic.php?f=6&t=5793 Do you think, that it is O.K. to upload scores from www.baroquemusic.it ? If yes, how can I use the already uploaded file? Notenschreiber 10:00, 31 December 2011 (UTC)

Hi (and Happy New Year), It's actually OK to upload things from there. You can change the Creative Commons License to the correct one (by-nc-nd 3.0) after the upload - using the edit window. We really need to change the upload window so that it permits the option of at least the Non-commercial aspect for typesets. (It is a little silly to expect there be no derivatives on an edition or a typeset, as they are derivatives in their own right - though I suppose it's technically possible for there to be a 'derivative of a derivative'). At any rate, the scores from that site are quite permissible. UPDATE: I created a little template you can use in the publisher field for these {{BarItalia|<DATE>}} Carolus 03:51, 1 January 2012 (UTC)

Copyright Project

Hi Carolus. This has been a great year for IMSLP, and so much has transpired in what seems so short a time. I hope you had a wonderful holiday, and I hope we can have another great year. Although I don't know what in store for this year, it's my goal to have a lot of the copyright information project finished. I'm creating this section on your talk page so that everybody involved has one convenient place to discuss it. Now that we have finished the Canadian copyright page (thanks for your suggestions), it's time to start thinking about the EU page. This might be a little bit more complex than the other countries we've dealt with because so many different countries are involved. This will surly be difficult, especially as I really don't know too much about copyright law in the EU, but hopefully we can finish it within a reasonable amount of time. Do you have any ideas? Respectfully yours, Emery 02:32, 3 January 2012 (UTC)

Hello Emery, It has indeed been an amazing year. I cannot believe we're over 150,000 files when it seems as if we just went over 100,000. I already added one comment to the Canadian page and will be reviewing it carefully. You have done exquisite work on it, and I can speak for many to say "Thank You so much!" As for the EU copyright situation, the main thing the EU has done is to standardize some common features of copyright laws in Europe: the term for all member states is a minimum of 70 pma, the concepts of moral rights and editio princeps are required features. The one item everyone here is most interested in is the optional copyright for urtext editions, whose term is fixed at a maximum of 30 years from publication should a member state elect to make the protection of such editions possible. One area I have not thoroughly explored is the extent, if any, of copyright protection for such editions in member states whose individual statutes do not directly address the issue. As far as I know, only Germany, Italy and (to a lesser extent) the UK designate such editorial works as being the subject of copyright protection. Does this mean that such editions have no protection whatsoever in Poland or Malta? I really can't say for sure. So, if you have the time and energy, by all means start constructing a general EU copyright, which should ultimately link to pages on the copyright laws of all the member states. Carolus 02:43, 3 January 2012 (UTC)

Hi Carolus. I will discuss editio princeps and moral rights, I agree that those are incredibly important. The optional protection for scholarly editions is sometimes confusing, and it's been a heated topic of debate for quite some time. I'll be sure to delineate that in detail so that any confusion can be cleared. There have actually been some friendly debates over the issue of the protection of urtext editions in member states whose statutes do not directly address the issue. You're right that Germany and Italy designate scholarly editions for copyright protection. I'll be sure to discuss the issue of Poland and Malta (and others) in the EU page, it can sometimes be confusing. Just to let you know, many of the links on the public domain page appear to be broken. Those should be fixed at some point, I'll see if I can get to it tonight. Respectfully, Emery 21:35, 3 January 2012 (UTC)

I admit that I don't fully understand the rationale for this project. Of course my concerns are moot given that Feldmahler approves, I assume, and you, Carolus, are firmly in charge. But, from a frequent user and occasional contributor since 2008, here are some fragmentary thoughts:
- Is it prudent for this site to be in the business of offering legal advice? The principal owner of Petrucci LLC is a lawyer, or soon to become one. Then this issue becomes all the more interesting.
- The legal advice is being written here not by lawyers but by helpful people summarising third-party sources. It is plainly a labor of love, backed by some serious practical experience and expertise, but ...
- It has always been IMSLP policy that users should be responsible for obtaining their own legal advice from competent counsel, and not from IMSLP.
- Copyright law is relevant here only to the extent necessary to protect the site against charges of reckless infringement and to deter the posting of obviously copyrighted work. I do not see why we should offer legal resources that users will inevitably rely upon in other contexts. And, if we warn others not to rely on our advice, then why are we posting it?
- Disclaimers and warnings that users are responsible for obtaining their own advice will ring hollow if IMSLP goes to great lengths to offer detailed advice. Disclaimers that seem hypocritical or a sham may be adjudged (by courts) to be ineffectual.
- This site became involved in detailed copyright review when it concluded that this was essential for the survival of the site. Its declared position has always been that only Canadian law is binding here (and perhaps U.S. law, based on corporate citizenship, though the site's position on this is not entirely clear to me). The EU has been acknowledged as a courtesy, or perhaps as a business necessity though in IMSLP's view not legally binding. I feel it would be a mis-step if IMSLP now implicitly admitted that the law of copyright was central to its mission all along. Indeed admitted that the law of all of the various copyright regimes on earth is important rather than, as previously asserted, irrelevant.
Nobody could disagree with the observation, http://imslpforums.org/viewtopic.php?f=1&t=4775&start=30#p24763,
"There are approximately 180 different laws in force worldwide at present. It is simply not possible for anyone - not even a major commercial concern like Amazon - to keep daily track of 180 or more different copyright laws, each with different exemptions for fair use and other purposes, etc. - many of which are also frequently subject to changes, from either legislative amendments or judicial interpretations."
But, again, why even try?
- It would seem a pity if this site became known for analysing multi-national issues of copyright law rather than "only" issues of music, musicianship, music theory, and music history. Some contributors will say that it should do both. (IMSLP: the first and only amateur law-enthusiast site to offer advice regarding the copyright laws of Anguilla, Antigua, and Malta!) That suggestion makes me uneasy, but I am grateful for those contributors' commitment and good will. Olmsted 04:03, 4 January 2012 (UTC)

Hello Olmsted. Some of these points have been addressed at User_talk:Emery#US_Copyright; in a nutshell, one of IMSLP's core purposes is to educate on copyright law, since so many publishers and other organizations have it in their best interests to obfuscate its reality. This is hardly the same as offering legal counsel on IP law - it serves a reference purpose, and as far as I (and other contributors here) can see, it is fully in line with IMSLP's basic goals. By "keep...track of 180 or more different copyright laws", the above quote clearly refers to the idea of actually enforcing those laws for IMSLP users, rather than simply providing a reference. Thanks, KGill talk email 04:15, 4 January 2012 (UTC)

Hi Olmsted. Thanks for your concern, and I think KGill addressed it well. IMSLP makes no legal guarantee that the information on the pages is accurate; therefore, it should be clear that the page is not to be used for legal advice. One of IMSLP's goals, like KGill mentioned, is to educate people about copyright law. I also understand your concern with countries such as Anguilla, but it will be a long time before anybody creates those pages. The priorities are countries that directly relate to Italy, France, Germany USSR / Russia, China, etc. Once those are finished, we may group the smaller countries together and summarize basic information on their copyright law. The main pages will be useful for copyright reviewers as well as people interested in copyright law. There are a myriad arguments to be made against this project, but understand that this project in no way is an attempt to give legal advice. It is only an attempt to educate. Respectfully yours, Emery 02:14, 5 January 2012 (UTC)

Messa solenne (Petrali, Vincenzo)

Hi Carolus, I don't want to sweep something under the carpet. So I send you the preceeding pages of that volume. Regards and Happy New Year! --Ralph Theo Misch 01:02, 5 January 2012 (UTC)
P.S: My hits at viaf regarding Giuseppe Scarpat. --Ralph Theo Misch 01:13, 5 January 2012 (UTC)
P.P.S: Are foxes really such a danger for cats? --Ralph Theo Misch 02:25, 5 January 2012 (UTC)

Happy New Year to you also! The 1982 publication should be free in the EU and Canada, as it is over 25 years old and definitely an urtext-type edition. The only time things get questionable for editions of this nature is when we have prefaces. I am a bit confused about the German and EU treatment of the supplemental material for such editions - prefaces, critical notes and (especially) continuo realizations. BSB and other German libraries do not hesitate to post everything, so it is possible that all the supplemental material falls under the 25-year term for the whole. The situation might be very different in Canada however, as a preface, critical notes and (in some cases) continuo realizations might pass the threshold of originality. We're not being as consistent about the issue as I would like.
As for foxes, they can be quite deadly here - especially out in the country where they often actually hunt cats. Raccoons, owls, coyotes and wild dogs are all dangerous - and very common. That's why it is so bad when people who have extra cats or kittens take them out to the countryside and dump them. They seldom survive very long. Carolus 03:19, 5 January 2012 (UTC)
Thanks for your answer! Some days ago, I had a visit from a fox. A droll guy, quite sociable (it's not a joke!). He would like to come in. But then I thought of your words. And the rabies!
Maybe I've got another matter for the US server: a 4-hand arrangement of Schostakowitsch's first symphonie. I'll send you an email with the link. --Ralph Theo Misch 00:08, 6 January 2012 (UTC)

Albert Jungmann Le mal du pays VS. Heimweh

Hi Carolus! WilliamBunting has pointed out that Jungmann's Heimweh, Op.117 should be merged into his Le mal du pays, Op.117 since it contains arrangements of Le mal. I'd do it but I never have figured out one key step: how to redirect a page (now empty) to a populated work page. Thanks! --Cypressdome 04:31, 5 January 2012 (UTC)

Ariadne auf Naxos - 1912

Hi there, I'm getting ready to scan the complete vocal score of the 1912 version of Ariadne auf Naxos. If you know this version, you know that there is no "prologue" and instead there is Le Bourgeois Gentilhomme instead. Theoretically this should go under both Ariadne and Bourgeois Gentilhome. Should I "split" it into two scores, or should I depend on sysops to add appropriate cross-references for each work? -- Kosboot 17:09, 5 January 2012 (UTC)

Put it under Ariadne only. We'll cross-reference as needed. Thanks - a very nice and welcome addition! Carolus 04:04, 6 January 2012 (UTC)

Question

Our school librarian gave us a "quick guide to copyright", and I'm not sure if it's actually correct. Could you clarify? It says that for printed material, copying and using a poem less than 250 words or an excerpt of 250 words from a longer poem counts as fair use. It also says that copying and using 10% of any work is fair use. In addition, it says that the teachers can make multiple copies of that printed material for classroom use, but only one copy per student. Is that correct? Thanks, Lndlewis10 01:44, 6 January 2012 (UTC)

"Fair Use" is one of the most complicated and confusing areas of copyright. It's possible using 250 words would constitute fair use if the complete work was 25,000 words, it was used in the proper context, etc. If the complete work was only 3000 words, the chances of 250 being considered 'fair use' decrease considerably. I would be very hesitant of trying to quantify it in such a way. The clause has been in the copyright law only since 1978, and it's the subject of much litigation. Carolus 04:02, 6 January 2012 (UTC)

Questionable copyright

Dear Carolus,

I'm not 100% sure about the copyright for a piece I just uploaded. It is: Notturno, Op.6 (Lorenzo, Leonardo de)

He died in 1962, so it will be 50 years this year since he died, but he didn't die until July, so it technically has not yet been 50 years since his death. The piece was published in 1908. Is this ok? If not, please let me know, and I won't upload any additional scores by him. --JP3 15:47, 6 January 2012 (UTC)

The term always runs to the end of the year, so it will not enter Canada public domain until 1/1/2013, just like Fritz Kreisler. It will be blocked until then unless you have one of the admins who has upload privileges on the US server - KGill, Daphnis, Schissel - to upload it there for you. I'd do it, but am way too busy with other responsibilities. Carolus 04:30, 7 January 2012 (UTC)

Thanks for the message

Hello and thank you for letting me know about recent developments. Don't worry if you don't see me for a while - I'm always around lurking, but it's been a while since I had a chance to upload anything. I'll mostly stick to importing interesting things from Sibley. The wiki is looking really great - there's hardly anything that I can't find here now !Aldona 05:31, 8 January 2012 (UTC)

Thanks, it's been a wild ride getting to over 150,000 files - I can hardly believe how huge it has become. Thanks for helping with the Sibley, we've been missing a lot of their more recent things due to the intense activity adding the WIMA archive. Carolus 05:37, 8 January 2012 (UTC)

from Michrond

Hello Carolus......sometimes I have to send the same movement twice....sorry about that......the computer seems to freeze.....also ...in symp #17 I think......you wrote "Silitaire" instead of "Militaire"....also on one of the fourth movements it should say "based on a french theme ...) like the 2nd movement.....I will try to be as careful as I can ....thank you for all your help....MR

No problem, it's an easy thing to fix. Carolus 05:20, 16 January 2012 (UTC)

Claude Debussy - Rêverie

Hi Carolus! It appears that the piano/violin score that is posted with the piano/cello arrangement is by Alberto Bachmann (d.1963). Should I replace the existing file with the cello part only (which is PD everywhere) and post the piano/violin score to the US server? If so, I'll take care of this tomorrow. Thanks! --Cypressdome 04:59, 14 January 2012 (UTC)

Yes, definitely - and thanks for catching it! I sometimes wonder what other surprises might be lurking about ... waiting to jump up and bite. Carolus 05:03, 14 January 2012 (UTC)
Hi Carolus! That's been taken care of but now I've run across a misidentified arranger of Jean-Marie Leclair's Sarabande and Tambourin which has resulted in the arrangement (by Leo Schulz) being under copyright in the EU. Thanks! --Cypressdome 23:17, 14 January 2012 (UTC)

Message from Michrond

Hello Carolus........problems with the 29th Symphony.....I found errors in the flute addresses and when I tried to send the 3rd mov...it said "FIle #9 corrupt".....PLease delete all of symphony 29 ...I will try it again when Christian fixes the addresses....thanks....MR

All deleted. You can try again when Christian is ready. Carolus 05:21, 16 January 2012 (UTC)

Carolus......sorry about the mess in Symp. 29.......the fisrt batch is doubled unintentonally.......I also sent (Last batch) flute 2 for Movements 1 and two to replace those in the first and second movt.(errors were found after they were sent).....please delete "Flute 3"....there are no flute 3 in any of the movements....thanks again.....MR

Carolus.....someone sugested that that I should enter "Flute 1,2"......then when I checked ...it didn't work....all the 2nd parts were missing from the movt 1......I sent the missing parts at the end....sorry about that.....MR

see my response on your talk page. Carolus

3 Ricercari per l'Elevazione (Petrali, Vincenzo)

Dear Carolus, the original publisher of this work isn't named in the reprint (a reproduction) by Paideia Editrice (why?), but in Gauß's edition of no.3. I think he deserves trust (see also 3 Adagi per l'Elevazione). BTW: I can't remember why I once wrote 'ca.1862'. Best wishes! --Ralph Theo Misch 23:38, 16 January 2012 (UTC) P.S.: Just seen: Internet culturale says 'Torino : Giudici e Strada, dep.1888'. Hm. --Ralph Theo Misch 13:29, 17 January 2012 (UTC)

manuscript scores from the Univ. of Louisville

Hi Carolus, I uploaded a number of manuscript scores held by our library today. This is the first time that I have uploaded manuscripts to IMSLP, so please forgive if there are errors. When possible, I provided a link to RISM. I had some difficulty determining titles, because the title on the manuscript is sometimes different from the title in RISM. Which should I prefer when choosing a title? JP3 21:46, 18 January 2012 (UTC)

As a general rule, we follow LOC's title authority. Cases like this are always very difficult and tricky, and we actually depart from LOC in some cases. Works like concerti, sonatas, and symphonies fall under what is called the 'generic title rule' for example. Thus a 'Sonata for Viola and Piano' or 'Sonate per viola e basso continuo' are simply titled "Viola Sonata" followed the key (if there's no catalog number) or simply the catalog number. I'll look over the items uploaded. Thanks, Carolus 01:25, 19 January 2012 (UTC)

Campioni, Concerto for 2 violins

Dear Carolus: before I tag this, the title page for reads "Concerto per cimbalo con violini, e primo violino obbligato, corno di caccia, e viola." Doesn't that make the solo parts cembalo with one violin, and not 2 violins? Thanks, Steltz 05:41, 19 January 2012 (UTC)

I was looking at the cembalo part and it did not appear to be part of the concertante to me. However, I did not look it over in great detail so perhaps this should be referred to as a "Concerto for Harpsichord and 2 Violins." 18th century practice for naming pieces can drive one literally insane at times. Carolus 01:50, 20 January 2012 (UTC)

Ricasoli template

Thank you so much for creating a template for the Ricasoli collection items that I have been adding. Would it be possible for you to make a slight wording change to the text? It currently reads "This manuscript forms part of the Ricasoli Collection at the University of Louisville Music Library." Since many of the scores in this collection are prints rather than manuscripts, could you change the word manuscript to "work" (or maybe "item" or "piece?"..... whichever one sounds best to you.)

Also, would it be possible for you to create another template for the Ricasoli collection similar to the one that you created for the UofL Music Library? A "Scores From the Ricasoli Collection" page would be really nice, as I would like to provide a link to it from the collection's page on our library's website (which is in desperate need of updating.)

This collection of 400+ manuscripts and scores is probably our library's most valuable collection of materials, and it has remained hidden for far too many years. I'm looking forward to sharing these scores with the world!

Thanks so much again for your help! JP3 15:40, 20 January 2012 (UTC)

No problem at all. This can all be accomplished by a simple modification of the template. Carolus 02:35, 21 January 2012 (UTC)


Alexander Schmitt

Hi Carolus. Thanks for editing my composer site (Alexander Schmitt).

  • Could you please delete in 'Requiem quietatis crucis' the midi file "5. Sequenz 'Dies irae'" and replace it with "5. Sequenz 'Dies irae' (correct)", the first midi file did not play all voices..
  • Could you please rename the pdf file 'No description given (please fix)' into "9. Communio 'Lux aeterna'". I forgot the add a description to the file.

Thanks a lot

Alexander Schmitt

CHORALS>>>>>>

Hello Carolus......the midi tabs seem to have a life of their owm....couldn't put them under the same tab.....as well I forgot the first title of the first choral.....and there may be a couple like no 13 that has a missing word.....thanks....MR

Ah. My mistake

and thanks! Eric 05:24, 24 January 2012 (UTC)

I still have mixed feelings about how to handle voice and piano works. Yes, I really see p.davydov's point about limiting "Vocal Scores" to the specific item typically associated with operas and larger choral works - but vocal scores was a nice catch-all term. I noticed quite a few of the Schubert songs have "Voice and Piano" which is pretty good - but what about those where the original version is for voice and continuo? I'm not terribly fond of the default "General" - maybe this could be changed to "Original Scoring" which would cover all the bases. Carolus 05:32, 24 January 2012 (UTC)

Removal?

Is it possible to remove both my account and my composer page? Or at least everything besides the Serse arrangement I've uploaded? I'm in the middle of doing some major recataloguing as well as having made a new account using my real name and want to basically completely start over with my composition uploads. I could remove em 1 by 1 but seems like there must be a quicker way? Thanks David Hamlin 07:29, 25 January 2012 (UTC)

Yes, in fact it's far better if we remove things. We have to do it one-by-one also, but it really does get rid of them. I'll start tonight. It could take a while. Carolus 02:18, 26 January 2012 (UTC)
Thanks most of the stuff isn't going to be back as I've begun taking lessons in composition from a professional composer and I've realized that more or less everything besides the Xerxes arrangement were mostly my self learning composition and while they worked as trial/error lessons they're not really worthy of being even kept after the lesson's learned. My new compositions once they're done will be posted under my new account DavidHamlin. Thanks for all the help David Hamlin 06:19, 26 January 2012 (UTC)

Hey I just logged in to check if stuff was gone but it's still there? David Hamlin 06:49, 18 February 2012 (UTC)

Yes, I'll try and remove it soon. Got slammed by the WIMA inundation, so there's been much more copyright review and tagging to do around here lately. I'm moving this thread to my regular talk page. Thanks for the reminder. Carolus 07:06, 18 February 2012 (UTC)
Thanks for getting that done, I'm in the middle of computer problems at the moment but once I get back to my composing capabilities I'll have some new and much better stuff that I'll be uploading sooner or later. David Hamlin 06:09, 20 February 2012 (UTC)

Loewe, Kleine Passionsmusik

Hello Carolus.

I've been in email contact with Frank Zimpel concerning his contribution, Kleine Passionsmusik by Carl Loewe. He sent me as email attachment his Finale generated pdf score which is in A4, landscape format.

I can't reproduce the problem with page cut offs which you're reporting. I've stored the pdf score Frank sent me on the WIMA server as Loewe-Carl-Kleine-Passionsmusik-Partitur.pdf and its pdf properties as reported by Evince as Passionsmusik-properties.png

Could it be that your pdf viewer application or browser plugin for some reason doesn't detect the A4 landscape paper format?

Greetings --Reccmo 21:27, 25 January 2012 (UTC)

Hi Christian, This is unlikely. The linked file looks perfectly fine in the very same browser. I think Frank must have uploaded a version of that file that he generated on to a smaller page as about on third of the music was actually missing from each page in the item he uploaded. The linked file can be uploaded with no problem. Carolus 02:16, 26 January 2012 (UTC)

Performance

Is the performance at night better now? I did some tweaking. --Feldmahler 23:51, 25 January 2012 (UTC)

Yes, I noticed a definite improvement last night. Thanks, Carolus 02:19, 26 January 2012 (UTC)

IMSLP First editions

There are a lot of editions which appeared for the first time at WIMA, editions from historical and from new compositions. Does they belong to the category "IMSLP FE", IMSLP being the successor of WIMA? What do you mean? Notenschreiber 06:29, 26 January 2012 (UTC)

If there are a number of works which were first published on WIMA, it might be a good idea to create a similar category for them. This actually has some importance from a copyright point-of-view as the EU has the editio princeps provision in place for first publications of older works. I expect that online publication would qualify so we might want to discuss the issue over at the forums. Thanks for mentioning it. Carolus 02:27, 27 January 2012 (UTC)

Serenade...

couldn't (well, actually, probably could have) see(n) the score so didn't know if the Saenger edition called the work Serenade or Norwegian Serenade, so went with the more authentic "Serenade" (from the, to my knowledge, first edition of 1883, which used a national title only for the first item and called the other two just Serenade and Scherzo.) I don't know the work or its history though. Anyhow, thanks for the fix :) Eric 06:29, 26 January 2012 (UTC)

OK - my mistake. Carolus 02:29, 27 January 2012 (UTC)

I saw your change at Abril Tirado "Mis Pasatiempos", it is a guitar and orchestra work?? Well, it seems as a mistake. Instrumentation is for guitar solo!!!! (Musicadelsur)

What was I thinking? Thanks! Carolus 02:29, 27 January 2012 (UTC)
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