User talk:Pml

Free public domain sheet music from IMSLP / Petrucci Music Library

Cross linking, CPDL / IMSLP

Hi Philip! There was some discussion on my user talk page about crosslinking between IMSLP and CPDL composer categories (i.e. IMSLP's composer page links to CPDL and vice versa). I don't know if CPDL is interested in such a collaboration? --Feldmahler 14:24, 1 April 2007 (EDT)

Could be, could be... :) -- Philip Legge _{♇ @ © Φ} 02:02, 2 April 2007 (EDT)

I'm gonna use your talk page to discuss this since it is still quite short ;) I'm still not very sure whether automatic linking will work... this is because some composer names are not absolute and may be different (I'm assuming at least some of the 200something composers on IMSLP have different named categories on CPDL). I can write an extension to reverse the surname first ordering easily, but even after reversal I'm not sure if it will automatically work due to actual differences in name... Maybe this will have to be implemented manually? Or is there a semi-automatic way to do it? --Feldmahler 02:28, 2 April 2007 (EDT)

I think that automatic linking might actually work, if we make use of the redirects on CPDL (see e.g. the redirects pointing to "Sergei Rachmaninoff"). I have never done any serious MediaWiki hacking, but I suppose that resolving redirects shouldn't be a particularly complicated issue. Maybe we could also have an automatic list of IMSLP categories that don't match any CPDL page. These could be checked manually once in a while, and if a corresponding CPDL page exists, it would be sufficient to add a redirect on CPDL with the writing used on IMSLP.

A different idea - probably too complicated, but let's brainstorm :) If, as I have proposed in IMSLP:Linking across projects, we are ever going to adapt a Wikipedia interwiki bot such that it can be run on IMSLP to put links to Wikipedia articles in various languages, then in a second step, the bot could run (with permission) on CPDL, find the links to Wikipedia and resolve redirects where needed. As a result, we could get a table of relations IMSLP category - Wikipedia article, and CPDL page - Wikipedia article. The two tables can then be matched, and the bot could write the interwiki links both to IMSLP and CPDL. As a byproduct, the hypothetical bot could also produce a list of Wikipedia articles that lack links to IMSLP or CPDL. --Leonard Vertighel 04:05, 2 April 2007 (EDT)

Hi Philip, we have come to the conclusion that it is probably better to do the linking manually. Feldmahler has already changed the IMSLP composer template (here is the first example of application). How should the links in CPDL be made? Thanks in advance, --Leonard Vertighel 16:54, 4 April 2007 (EDT)

Congratulations

with your copyright reviewer status. I'm together with Carolus a supervisor for the reviewers, so you can ask me anything. There's also a special page for reviewers: IMSLP:Copyright Reviewers. Cheers, Peter _talk 16:30, 30 September 2007 (EDT).

NMA project

Hi philip, some months ago, I started to download and cleanup systematically the NMA for myself. My aim was to reconstruct each volume as a clean high quality pdf file (including blank pages), in a similar spirit as BGA. For the moment I have made a little pause (!), but I already completed ~1/2 of the job. Complying with your project would only consist in splitting those files (PD volumes only) and upload. How could we share these ? Best regards, Matthieu 08:23, 4 October 2007 (EDT)

PS: I also posted this message to the forum.

Hi Philip, since you're the NMA project leader, I'll use this place to post those items where one of our contributors has uploaded a series of one-page files. There are a number of fine folks here who can merge them easily if you don't happen to own the software yourself - as I'm sure you noticed over at the forum. BTW, I have a question for you outside of the IMSLP realm about some of your editing projects. Regards, Carolus 21:44, 14 October 2007 (EDT)

Sonate in D, F, B and G for 2 violin, organ, cello and bass KV 144 (Mozart, Wolfgang Amadeus)
Per pietà, bell' idol mio, K. 78 (Mozart, Wolfgang Amadeus)
Cassation in G (Final-Music) KV 63 (Mozart, Wolfgang Amadeus)

Hi Carolus, I've sent an e-mail to your yahoo address on the other topic. As you may guess I have Acrobat Standard, which can amalgamate pages from separate PDFs :) Regards, Philip Legge _{♇ @ © Φ} 22:16, 14 October 2007 (EDT)

Hi Philip, We've found out a few things since we started talking about this a year ago. Urtext or Critical editions have a maximum term of 30-years from publication in the entire EU. (93/98 EC Copyright Directive). While individual countries may opt for lesser terms - or no protection at all- the term for such editions can be no more than 30 years from publication. Italy has a 20-year term, while Germany and the UK have 25-year terms (though the UK's doesn't explicitly refer to urtext or critical editions like the Italian and German laws do). The country of origin is most likely going to be Germany (where the Baerenreiter, the publisher of the series and legal copyright claimant, is located) though it might be Austria if the Austrian state funded the series. Carolus 01:14, 31 October 2008 (EDT)

Moved page (3 Illuminations, Havergal Brian)

Hi Pml, I have moved the page 3 Illuminations (Brian, Havergal), which you requested to be undeleted, to User:Pml/3 Illuminations (Brian, Havergal), as it is not part of the main library. Thanks, --Leonard Vertighel 03:35, 9 July 2008 (EDT)

Thanks very much Leonard. When I have a moment I'll check the page isn't being included in any of the official categories, such as Category:Piano piece, as it shouldn't be listed there. Regards, Philip Legge _{♇ @ © Φ} 17:20, 9 July 2008 (EDT)

Fazil Say

Hi Pml! Just a little note that when you are unsure whether the uploader has permission, do not check "permission granted" because doing so will allow file download. Rather, just tag N/N/N with a note, and someone will verify before deletion. Tagging N/N/N does not allow general download. (This note is because of an e-mail complaint I received for Jazz Fantasy on Mozart (K.331 Last Movement) (Fazıl, Say) being downloadable.)

But thanks for the good work you are doing on IMSLP :-) --Feldmahler 11:25, 13 October 2008 (EDT)

I doubt that this user will be the well known concert pianist Fazil Say ??? I blocked the file again as I don't see evidence--Peter _talk 08:55, 14 October 2008 (EDT)

It seems "well known" is in the eye of the beholder; I'd found an article on him on the Turkish wikipedia, from which I gleaned that he plausibly could be the submitter (or the uploader to be an associate). Thanks for blocking it until we sort this out! Regards, Philip Legge _{♇ @ © Φ} 19:50, 14 October 2008 (EDT)

I thought you said the uploader was Fazil Say on the forum - obviously I got it backwards! I'll probably delete this tonight or sometime this weekend since this was an unauthorized posting. Carolus 13:42, 17 October 2008 (EDT)

Very sorry Pml for not replying for so long; I'm busy as hell until the end of this month. I've received your messages on my talk page. Generally I think it is good to be safe than sorry, and you can always ask for confirmation from other copyright reviewers anyway.

The reason I also thought the file was suspect is that most user-created contributions are new typesets rather than scans. The fact that the file was scanned from what seems like an anthology struck me as very suspicious. First, the commentary for that piece may be copyrighted above and beyond the music, and second, I don't think someone will post a scan from an anthology of their own work.

But this case is fixed, and don't let it bug you any more :-) --Feldmahler 23:46, 18 October 2008 (EDT)

Reactivation of the NMA project

Hi Philip ! Sorry for this late answer, I'm back after few days off. Of course, I am still in the project and I am glad to ear that it restarts. I'll have a look at your posts and to the project page, and I recontact you as soon as I have something new. Best regards,--Matthieu 04:58, 6 November 2008 (EST)

Hi Philip, I just notced the new NMA template - a welcome addition indeed. Do you think it's necessary to repeat the NMA listing abbrevated in brackets after the main part? The reason I ask is that I notice it adds enough space so that things sometimes break into 3 regular lines for the whole template to appear - not including the urtext box (nice addition, btw). I'm on a 24-inch monitor, which is fairly wide as monitors go. Adding vertical length is always something of a concern - especially on the long pages like the one for Mozart's Requiem - until Feldmahler invents a method for adding tabs to make a single workpage into 3 or four subpages. This is why I've taken to using a fairly minimalist approach to the listing of the series title on some of the other templates instead of having the often-lengthy German title appear in full. Carolus 02:02, 11 December 2008 (EST)

Hi Carolus,

Having the template allows easy tracing of works too: Special:Whatlinkshere/Neue Mozart-Ausgabe :-)

I think having the short form of the NMA listing is useful, since these appear as references all over the place: the DME website of course, as abbreviations in MGG and Grove, and on the spines on the volumes themselves! I’m aware some of the long titles don’t flow terribly well. If I created a modified version of the template, say {{Bärenreiter-Urtext}}, would you mind abridging the text as necessary: obviously mentions of Italy and Russia don’t apply, but some Bärenreiter editions now go out from Prague, having purchased Supraphon, etc.

Then any of the Bärenreiter urtexts that turn up from time to time (e.g. that whole volume of Berwald’s piano music!) can just quote {{Bärenreiter-Urtext}} with specific info for them.

Having all of the individual movements of the Requiem separately available will actually be against the NMA project style guide, when I get around to writing it: as the DME is available down to the level of individual pages, I don’t see the point in replicating such fine-grained breaking up of movements/sections, especially for works which would have very long work pages anyway. For example, Idomeneo is available as a minimum of 72 separate PDFs!

Anyway, as far as I can tell there are only three items from the NMA currently on IMSLP, so it’s not critical yet if we decide to play around with the template...

Regards, Philip Legge _{♇ @ © talk} 19:00, 12 December 2008 (AEDT)

Clarinet Sonata

First of all, pardon me if anything I do here is wrong - first time and all. Yes the piece has been recorded, twice in fact. The first was a terrible performances and even worse recording (my phone could have done a better job...), the second was much better on both accounts but not perfect. The reason I uploaded it here is that I finally finalised (...) the score because my recital is in 4 days time. I will get a much better recording of it then - with some professional musicians also. If you are interested the recordings can be found here - should I put that link somewhere on the work page?

Yagan

Hi Yagan,

I imagine if you're happy for the recording to be released to the world, then it would be a useful link for the work page.

Regards, Philip Legge _{♇ @ © talk} 20:37, 16 November 2008 (EST)

Re: Schubert - "Rosamunde" (Die Zauberharfe) overture, D.644

OK, here is what Deutsch says...

(My copy is the Kalmus reprint of the 1950 edition of the Schubert Thematic Catalogue.)

D.644: 'Die Zauberharfe', Magic Play - with Music - in 3 Acts, libretto by Georg von Hofmann. (XV 7). 1819-20.

(It then quotes the first line of each of the musical numbers, and the Overture is definitely that which we all associate today with 'Rosamunde'.)

1st performance: 19th August 1820, Theater an der Wien, Vienna (performed there eight times in all).

1st edition:

Overture to Act 1, arranged for pianoforte duet, and published under the title 'Ouvertüre zum Drama Rosamunde' - c.1827, M. Leidesdorf, Vienna;
'Ouvertüre zum Oper Rosamunde,' in parts, 1854, C.A.Spina, Vienna;
In score - January 1867, ibidem (no. 19,102);
Complete Score - 1891, Gesamtausgabe.

And then the following note, which I will reproduce verbatim, and which I presume is referring to the Romanze in 'Die Zauberharfe' (Was belebt die schöne Welt), and not that in 'Rosamunde' (Der Vollmond strahlt auf Bergeshöh'n)...

"Josef Hüttenbrenner's MS of the arrangement of the Overture to Act 1 (in the possession of the compiler) is entitled 'Zauberharfe', and dated by Andreas Schubert (Franz's step-brother) as composed in 1819. (For this overture, cf. 'Rosamunde,' 797.) Schubert did not receive the honararium of 500 florins Vienna currency, which he was promised by the theatre for the music. The autograph of the Romance in its second version, for concert performance, was at one time in the possession of Josef Hüttenbrenner; a copy of it is still in the archives of the Gesellschaft der Musikfreunde, Vienna. Josef Hüttenbrenner arranged it with pianoforte accompaniment, and Max Friedlander published it in this form, 1887, with C.F.Peters, Leipzig, as No.32 of 'Schubert Album', book 7. The third version of the romance, purely instrumental, is to be found at the end of Act 1 in both MS. and printed scores (intermezzo in No.3, with solo clarinet in place of the voice, and violoncello instead of oboe concertante). This alteration was occasioned by the inefficiency of the tenor, Ferdinand Schimon. The concert version may have been written later, in January 1823, for another tenor, Franz Jäger.'

Hope this helps a bit. I've noticed your upload of the (un)finished symphony, and I am planning to print it out and study it carefully in the next few days. I probably won't be near a computer for much of Saturday so it will probably be Sunday and thereafter. (What a relief, communicating on an internet forum to someone in the same time zone and not having to add 7 hours, stand on my head and make a note of the phase of the moon.) Aldona 06:43, 28 November 2008 (EST)

Schubert manuscript autograph (Symphony sketches, D.615)

Thank you for yet another rarity - I hope there's more where you're getting that from.

Have you seen the autographs at Juillard? (See the wish-list, under "Contributor Portal".)

We are definitely heading towards a complete Schubert canon. (I'm working on the incidental music to "Rosamunde" when I get a few minutes to scan.) Aldona 06:28, 2 December 2008 (EST)

I'll be putting up D.708a and D.936a (the other intermediate D major sketch, and the "last" of all) once I can get some better image compression happening - I wasn't happy with 4 pages coming out at nearly 3 MB a page!

Then all we need is for someone to find out how to get hold of Weingartner's version of the E major symphony...

I see what you mean about the JMC: its "Flashy" and a bit more painful than the schubert-online site!

Regards, Philip Legge _{♇ @ © talk} 06:56, 2 December 2008 (EST)

I'm at work now - do you have any idea how hard it is to get any work done when I have to keep checking the computer between patients to see what delightful manuscript(s) you have added lately? Aldona 22:44, 2 December 2008 (EST)

No, don't restrict your uploads - restrict my patients instead! I've had some pearlers today....(rolls eyes). They need to learn that there are more important things in the universe than their ear wax and flatulence. Put them to work scanning!

I don't have any bright ideas on where to find more fragmentary symphonies - I have even less access to university libraries than you (I'm an "alumni" member at Monash, but even the Dover reprints of the Gesamtausgabe are for looking but not borrowing.) If you check the latest Deutsch, they should have information on the last reported whereabouts of the manuscripts for each work. Either that, or googling by Deutsch number (i.e. search for "Schubert D.XXX") sometimes yields some surprising information.

OK, back to work... (Your Medicare levy at work!!!) Aldona 23:29, 2 December 2008 (EST)

Schubert symphonies

I left you another dozen messages on the talk page - have fun. Schubert, of course, is practically the only composer of whom we have this many fragments, so it's nice to be having this discussion.Snailey _{Yell at me Email me} 22:18, 6 December 2008 (EST)

Fauré Requiem

Hi Phillip, regarding the Requiem that you kindly put up, for the vocal score on CPDL, is the organ reduction your own or is it Roger-Ducasse's? I'm about to start my Fauré project and am trying to decide if I should scan the vocal score with piano reduction by RD or not in addition to other works. Thanks for your valuable contributions as always. Daphnis 00:10, 21 December 2008 (EST)

Hi Daphnis, it's mine, though you'll find a lot in common with the Roger-Ducasse naturally. The piano-vocal score is afflicted by many of the same mistakes as is the full score, though it's less useful than the full score, which is the primary source for the Offertoire, Pie Jesu, and orchestral Libera me. Regards, Philip _@ 19:03, 21 December 2008 (AEDT)

Berlioz scores

Hi, just a question - when you list "no scores available" do you mean that none are available at present, or that there are no PD scores available to be posted? In the case of the Les Francs-Juges, H 23: Concert Overture (Op.3), there is indeed a public domain score available - a reprint of Old Berlioz edition from Kalmus - which will hopefully find its way here at some point. Carolus 15:41, 6 January 2009 (EST)

Hi Carolus. The latter naturally, though I would perhaps have used slightly less ambiguous language if I'd thought about it. In case of the opera fragments, I seem to recall some publication (not NBE) in the 1970s, otherwise the date of first publishing would be the NBE volume of 2002. Regards, Philip Legge _{♇ @ © talk} 17:26, 6 January 2009 (EST)

Is there any particular reason you're tagging the Old Berlioz edition scores as "Non-PD EU"? They're urtext-type editions (even if not always done very well) that are well over 30 years past publication (the maximum allowable term for such an edition under the EU 93/98 directive). Weingartner died in 1943, so even if one were to argue for a life-plus-70, they would expire no later than 2014. Now I see. It has to do with Percy Edward Pinkerton's English text. Since he apparently died in 1946, the translations would not be PD in the EU until 2017. Thanks, Carolus 22:26, 8 January 2009 (EST)

Hi Carolus; I see you’ve answered your own question. I think I mistakenly put 2018 down as the year instead of 2017, so my arithmetic must be haywire today. Pinkerton was 91 years of age, and I only have a birth year of 1846 for the German translator Emma Klingenfeld, so I believe I'm not being overgenerous by assuming she lived to be less than a century old.

I haven't yet tidied up all of the redirects and wikilinks associated with the various uploads and moves, that will be sometime this evening I expect.Regards, Philip Legge _{♇ @ © talk} 22:55, 8 January 2009 (EST)

Just wanted to say thank you for all of your work uploading and cleaning the gesamtausgabe page!Snailey _{Yell at me Email me} 16:17, 9 January 2009 (EST)

Sortable lists

Hi Philip. I'm indebted to you for your help in hiding the leading '0's in the sortable lists, and it's something I'll be using in the future on similar listings. It seems that almost anything is possible with a Wiki -- if you know where to find it! P.davydov 07:03, 9 February 2009 (EST)

Re: protecting talk pages

Look twice :) I protected the talk pages only from moving, not from editing. No good reason for anyone (except yourself possibly) to rename your talk page :) --Leonard Vertighel 07:16, 22 February 2009 (EST)

Regarding vandalism

Thank you for fighting the vandal today PML! Don't worry; you will not need to continue doing for long (I'm currently studying up on anti-vandalism procedure at Wikipedia). Thanks again! --Feldmahler 21:21, 22 February 2009 (EST)

Not a problem. S/He's a persistent troll, but it all comes to nought in the end. As soon as I saw the "you have new messages" flag appear (this page has been interestingly decorated at times today) I instantly jumped to the last 10 changes to see who I was going to have to block next! :D Philip Legge _{@ © talk} 21:27, 22 February 2009 (EST)

6 Duets for 2 Violas (Stamitz, Carl Philipp)

Ciao Pml. I have just seen that you have marked V those duos,but I know that edition and I know for sure that it isn't an urtext edition. Lebermann put a lot of "his things" on it.So I think it should't be PD.

Ciao e buon lavoro

Carmar1791

Carmar, you're quite right, so it's no longer a question of 30y post publication but possibly 50/70y pma. I've flagged it for another review.

Ciao, Philip Legge _{@ © talk} 18:01, 23 February 2009 (EST)

Email

I dropped you an email; respond if you will. -- Snailey _{Yell at me Email me} 18:03, 27 February 2009 (EST)

Codex Buranus

Looks intruiging; thanks for adding it. It's always good to know that I'm not the only one doing featured scores ;-).-- Snailey _{Yell at me Email me} 21:14, 12 March 2009 (EDT)

The ChoralWiki gets hit

[1] Letsdrinktea 21:13, 16 March 2009 (EDT)

The vandal seems to be vandalizing pages in the category Composers, you might want to tell them to do whatever was done here to stop the vandalism Letsdrinktea 21:21, 16 March 2009 (EDT)

Spem in alium

Would it be okay for me to post (or you, for that matter) your edition of Spem in Alium? It's a nice work and a nice edition. (BTW, found it on MIT Archive)-- Snailey _{Yell at me Email me} 22:16, 21 March 2009 (EDT)

And with interest: other ridiculously large works in 19, 24, 36, 40, 54, and 54 (yes, also) parts! Mwahahahaha... Philip Legge _{@ © talk} 17:28, 5 April 2009 (AEST)

New signature on Viola d'amore Concerto, RV 163 (Vivaldi, Antonio)

May I inquire as to why your signature on the Vivaldi Viola d'Amore concerto (Penius)?-- Snailey _{Yell at me Email me} 12:10, 20 April 2009 (EDT)

Hi, just sheer carelessness. Using "Add a file to this page" automatically inserts the name of the active user (i.e., me) as the uploader, which was not me; hence I should have re-edited the page afterwards to correct the ambiguity.

It was Penius (Talk · contribs) who uploaded the score, which being edited by Malipiero (†1973) unfortunately falls in the grey area between urtext (public domain after 30 years) and editorial contribution (min 50 years pma copyright). Hence the CR tag is currently 24/57/44, but a more liberal interpretation could be V*/57/V* (which would still result in it being blocked, presently).

As I recall, Malipiero's Vivaldi editions always had his continuo realization in the score (which I suppose doubled as a keyboard part). I doubt it falls under the urtext exemption. Carolus 20:41, 20 April 2009 (EDT)

You're quite right, as usual, Carolus. The realisation is pretty much "by the numbers" however looking a bit more closely there are a few other minor editorial touches elsewhere, bugger. Delete now, restore in 2024? Regards, PML _{@ ©} 11:30, 21 April 2009 (AEST)

Yes, I think we have to be somewhat strict on that particular issue - even though his realization is very much "by the numbers" as you say. That's too bad in a way, because I hear that Ricordi is allowing all the Malipiero editions to go out of print since they're issuing a whole new series under a different editor now. Oh well, we can only push the envelope so far. Carolus 21:04, 20 April 2009 (EDT)

Haydn: Symphonies 88-92

Hi, I can confirm now that the 1964 issues from HMP are identical with the Dover reprint of the 1951 volume. They are literally exactly the same engraving. As you know from my forum post, Kalmus has reprinted these as well. Looks like we're going to have the whole collection very soon! Carolus 22:02, 16 May 2009 (EDT)

Hi Carolus,

that's fabulous news – I was initially cautious of marking the 1964 scores of 88–91 accordingly.

There are some footnotes or apparent addendums to various of the symphonies in volumes 9 and 10: there's 4 pages at the end of Symphony 86 that don't appear on the Haydn107.com website, and there's a footnote to Symphony 91 indicating some revisions on the basis of a rediscovered autograph. Your thoughts?

I just compared. Only a couple of (minor) actual changes - a reposition of slurs of Violin I in mm.88-91 of the last movement, plus addition of ties to the upper note of Violin II in mm.87-88. Most of the footnotes mention differences between Autograph, Leduc, and another early ed. which resulted in no actual change to the score (Leduc was close to the autograph, apparently). There's no way the altering of a slur and addition of a tie would stand, especially as the alterations were made on the basis of another public domain source (the autograph). Carolus 22:29, 16 May 2009 (EDT)

Schubert without watermark

Dear Philip,

I have seen, you uploaded some autograph form schubert.at. I just want to let you know, that they store the autographs also in a folder without watermarks. The scheme with watermark is: http://www.schubert-online.at/activpage/scans/__wasserzeichen_MH_15512_D1_008.jpg_pr_resize:100_pr_ Same without watermark is: http://www.schubert-online.at/activpage/scans/MH_15512_D1_008.jpg All the best, Yours --Konrad Stein 15:22, 27 May 2009 (EDT)

Dear Konrad,

I suspected the watermark free versions must exist, but that they might not be accessible publicly from the web. I'll be very interested to obtain the alternate copies and update those scores. Best regards, Philip Legge _{@ © talk} 22:40, 27 May 2009 (EDT)

New Template

I created Template:PopSection to try to stop people from creating redundant sectional work pages. I implemented it for Le Cygne (Saint-Saëns, Camille), as an example. Feel free to mess with it!-- Snailey _{Talk to Me Email me} 20:03, 28 July 2009 (UTC)

Berlioz Catalogue

Thanks for the link. I'm sure that will be useful for when Daphnis scans the old complete works edition next year (exciting!)-- Snailey _{Talk to Me Email me} 00:13, 30 July 2009 (UTC)

And I fixed the rest.-- Snailey _{Talk to Me Email me} 00:31, 30 July 2009 (UTC)

I'd be perfectly OK if you changed everything to Holoman numbers exclusively. Even though Berlioz approved the first 25 opus numbers, they seem to be more confusing than useful for a number of his works. I'm still looking around for the Choudens full score for Les Troyens, which is not easy to find by any means. Carolus 04:35, 30 August 2009 (UTC)

For the titles which are on the shorter side and where the opus number is unambiguous, I've included both. Actually it's up to opus 28 he (HB) appears to have approved, I was typing from memory; the earliest assignment of "29" is 15 years posthumously. But yes, I think its obligatory to include the Holoman numbers for (almost) completely unambiguous reference. Philip Legge _{@ © talk} 04:46, 30 August 2009 (UTC)

Article in October edition of ABC "Limelight" about IMSLP

Have you seen the latest (October 2009) edition of the ABC "Limelight" magazine? I just bought mine today. There is an article on page 14 entitled "The End of Music Stores?" which has quite a write-up about IMSLP. It ends by saying "What was the domain of princes has now been gifted freely to students and music lovers the world over. What better way to change the world."

I was going to send you a link but there is no access to the text of articles on the ABC Limelight website. See if you can find a copy, or I could scan the article and email it to you as a .pdf attachment (slightly naughty from the copyright point of view, but it is for private research and critical analysis after all). Aldona 12:14, 18 September 2009 (UTC)

Don't forget to add it to IMSLP:Press coverage. --Leonard Vertighel 18:09, 18 September 2009 (UTC)

Hi Aldona; no, I wasn't aware of it. I only tend to buy limelight (with lower case) when I notice something particularly interesting on the cover. I'll have to rush out and snaffle a copy sometime over the weekend... Philip Legge _{@ © talk} 01:41, 19 September 2009 (UTC)

Schoenberg - Gurre-Lieder

Philip, I recently started an intense study of this spectacular and massive work and had recent occasion to use your expertly-prepared and very well typeset choral score as a reference and wanted to add my personal thanks and congratulations on a (formidable) job well-done. I've decided to now work on scanning the full score from the 1920 Universal Edition copy, for which I was able to get my hands on the A3 sized full score, and will be scanning it in very high quality, hopefully making yet another great addition to our collection soon. I felicitate you for your work and providing me the inspiration to work on this project myself. Daphnis 02:58, 26 September 2009 (UTC)

Dear Daphnis,

a scan of the epic Gurre-Lieder would be another wonderful addition here. The choral score was commissioned for a performance back in 2003 but ended up being something of a labour of love, since the choruses are not only wonderful pieces in their own right but given their difficulty aren't adequately served by the existing chorus parts. It's one of my favourite pieces of music for the richness and imagination of its orchestration - the change in style caused by the later completion of Part Three brings a chamber music sensibility to what could have just been an essay in 20th century giganticism and monumentalism, given the size and scale of the piece.

A scan of the 1912 facsimile of the fair copy of the manuscript full score would be just as valuable to have, even if it doesn't record the later small modifications to the score - however as it was issued by Universal Edition in a limited edition of only 500 copies, it is probably very difficult to get hold of except in the form of the 2003 reprint in the complete works edition. Schönberg was a skilled visual artist and the full score is a demonstration of his calligraphic craftmanship as well as his musical artistry. There's barely a note or line of ink out of place, page after page. You can see why it inspired Webern and Berg to implore Schönberg to finish the work. Regards, Philip Legge _{@ © talk} 08:10, 26 September 2009 (UTC)

Parts II & III available now, Part I coming tomorrow. Daphnis 23:35, 26 September 2009 (UTC)